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April 08 2010


MediaStorm’s Guide to Backing Up

There are two types of people, the saying goes, those whose hard drives have already failed and those whose will.

That’s why it’s important to have redundancy. For every drive you use, you should always have a backup.

At MediaStorm, we keep our system software–the OS and all applications including Final Cut Pro–on a drive named A. The media for our projects reside on a B drive. We have a duplicate of each that is backed up religiously.

A gets backed up to A_backup; B to B_backup.

For that task we use SuperDuper! from shirt-pocket.com. The application copies the entirety of the drive to it’s respective clone. In other words, you are mirroring the whole drive, not just backing up specific folders.

SuperDuper’s! one window interface is quite simple.

Simply choose the drive you’d like to back up from the Copy pulldown menu and the backup destination from the to: menu.

Choose Backup – all files from the using pulldown menu.


At the bottom of the window, selects the Options… button.

SuperDuper! 2

Choose Smart Update from the During Copy menu. This option is the fastest. According to the SuperDuper! manual, smart updates will update any files on your clone drive, new or old, that do not match the primary drive. It will also remove any files on your clone that no longer exist on the original.

Finally, at the bottom of the window, SuperDuper! offers several options once the backup is complete. Shut Down Computer is a useful choice.

Since we generally run the application at the end of the day, this option allows us to start the backup right before we leave. Just make sure you are logged out of all other applications first.

Backing up is essential. The best way to make sure it’s part of your daily workflow is to find a simple solution like SuperDuper! Until you’ve made using it a habit, leave yourself a Stickie note so it’s the last thing you see before shutting down.

Drives are going to fail on you, it’s just a matter of time. The question is, when that happens will you have a backup ready?

February 20 2010


Free Multimedia Tool Workshop Updated Handouts

online news association ona logoHey Journalistopians, it’s been a long while, but I wanted to post the handouts and examples I’ll be sharing at this weekend’s Online News Association Parachute Training in Boca Raton, Fla. Feel free to use these in presentations, in the classroom, to line your birdcage — whatever tickles your fancy!

Share: Twitter Facebook del.icio.us Digg StumbleUpon Reddit Yahoo! Buzz FriendFeed NewsVine Mixx Suggest to Techmeme via Twitter MisterWong

January 25 2010


MediaStorm’s Guide to Getting Good

Here’s the secret to getting good: practice, a lot.

It’s that simple and that difficult.

People tell me they want to produce work like MediaStorm. You can. Yes, we are fortunate to work with many incredibly talented photographers. But the storytelling techniques we use in our work are not revolutionary. They’re the same techniques described by Aristotle in his Poetics, 2000 years ago. What’s different is that we work our stories. We watch and re-watch literally dozens of times, replacing soundbites, removing the inauthentic, rearranging, restructuring, often for weeks at a time. Sometimes it feels endless but in the end, it works.

And it can for you, too.

When I produced Driftless by Danny Wilcox Frazier I worked more hours than I thought I could. But I did. And in the end, I became a better editor for it. And the same applies to you, if you put in the hours.

Malcom Gladwell once famously proclaimed that you need 10,000 hours of practice to become a superstar.

Start. Now.

I want to compose my own music. I’m not a musician. A teacher, in fact, once told me I had no rhythm. But I’ve been taking piano for the last six years with that goal in mind. I don’t know if I’ll get there but I know for sure that I won’t if I don’t try. So I practice every morning for twenty-minutes.

Regardless of your discipline, the rule remains: practice, a lot.

In 1986, I bought a copy of Talking Heads Stop Making Sense. As much as the music, what stuck with me all these years were the words that surrounded the CD insert like a frame. They said, and I’m paraphrasing, “If you are an artist it is work. If you are a painter it is work. If you are a writer it is work.”

If you are a multimedia producer it is work.

Sometimes I think that we forget that work does not have to be drudgery. If you love what you do, then work can be an act of love.

All right, enough preaching. Go practice.

Tags: Tutorials

January 21 2010


Mastering Multimedia useful tips roundup

Many of may old posts that deal with tips about how to do video storytelling and audio slideshows get linked on a lot of blogs used by college professors who teach digital media classes. Most of these posts are buried amongst my pontifications about the changes facing the newspaper industry. So for anyone interested,  here is a roundup of my best multimedia suggestions and useful tip posts in one place…

How to make your audio slideshows better

Great audio starts in the field

How best to approach a video story

Sequencing: The foundation of video storytelling

How to make your video editing easier

Get creative with your video camera

Opening your video: How not to lose viewers

Random Final Cut tip: Lower thirds titles

What we can learn from TV new shooters

November 23 2009


Ten Tips for Working With Music in Multimedia

Music is an all too frequently overlooked facet of multimedia production. In this ongoing series of tutorials to improve your multimedia, I’ll explain 10 techniques that the MediaStorm team utilizes when working with music.

First, though, a few definitions commonly used to describe musical attributes.

Tempo: the speed of a musical composition, how fast or slow it’s played.

Timbre: the voice or sound of an instrument. A stringed instrument has a different timbre than a piano or a saxophone.

Pitch: the frequency of a sound. Bass notes have a low pitch; the upper octaves of a piano produce a higher pitch.

Rhythm: the variation in length between sounds and accents. Rhythm is often tapped onto a surface.

1. Decide whether to use music. If the music you’ve chosen is not exceptional, don’t use it. Viewers need only a single small reason to stop watching your work; poor music is a big one.

If you do use music, don’t steal it. Unless you have explicit permission to use a piece of music in your work, you cannot use it. Schools and festivals sometimes receive waivers from music licensing companies like BMI and ASCAP, but as a good rule of thumb it’s best to hire a composer or search Google to purchase royalty-free music.

Royalty-free music often comes with a variety of licensing options, for Web, TV, or film usage. It may take trial and error but there are numerous companies that license individual tracks at fairly reasonable prices.

2. Don’t needle-drop. A needle-drop is when you simply drop a music track onto your timeline and let it play from beginning to end, as is. This is the easiest and generally the least effective way to use music in your multimedia work.

Unless you are working with a composer to create an original score, chances are you’re going to need to cut up your music. But by editing and rearranging sections of a single song, you create the impression that the music was created specifically for your production.

Just as important, try to avoid using music for the full duration of your work. Sometimes dramatic parts of a story are much more effective when they are told quietly.

3. Use music with a strong rhythm. Musical cues with a pronounced beat are often easier to work with, as they provide natural edit points. Strong rhythm will also inform your pace and help to keep things moving. Bear in mind that a strong rhythm does not necessarily mean a fast tempo. It’s good practice to use slow songs as well. Variety keeps the viewer interested. For an example of a composition with a strong rhythm, see the opening of Marcus Bleasdale’s Rape of a Nation.

4. Use music with strong stings. A sting is the last few musical phrases of a song, how the piece ends. A strong sting provides a definitive conclusion to a section of your production.

To edit a sting, locate the last beat of the song. Now shuttle the playhead backward three beats. Create a new edit here.

Next, replay the sting. Pay particular attention to the note that begins this last phrase of the song. Now comes the challenging part, you need to find this same phrase earlier in the piece.

Once you locate it, create an edit point right before this beat. Move the two sections together. You may need to roll back a few frames on either side to create a seamless edit. This is without a doubt the hardest part of editing music. There’s no secret. It takes patience and practice to perfect.

See the credits section at the end of Black Market for an example of a pronounced sting.

5. Turn off other audio tracks when editing music. Before mixing or editing your music track, make sure your interview tracks are disabled. It’s an obvious but often overlooked tip. Select your interview clips, then use control-B to enable and disable them.

For more Final Cut tips see Tips From the MediaStorm Final Cut Pro Workflow.

6. Keep levels consistent. When splicing two pieces of the same track together, make sure both sections are mixed to the same level at the edit point. Otherwise, your ear will deceive you into believing the sections don’t quite match, even if they do.

7. Strategically place imperfect music edits. Ideally, your edit should be indecipherable, but if a perfect cut is not possible, hide the edit by lowering its volume and placing a voice track over it. This will help disguise the edit point.

Along these lines, avoid cutting images on the same frame as an imperfect audio cut. Failing to do so with emphasize the flaw.

8. Create an interplay between your narrative and music. Music should not be used as simply background sound. It’s an integral part of multimedia, as important at times as your images, narration, or video. Effective music editing creates a rhythm, a call and response, with your other media sources.

For an example, see minute 1:40 from Danny Wilcox Frazier’s Driftless chapter, Town Bar. As Tumara describes her experience wanting to “check out,” the music plays counterpoint. Listen to how the guitar riff plays in the spaces between Taumara’s sound bites.

9. Fade music levels as interview bites begin. Avoid lowering music levels far in advance of an interview bite. Nothing draws attention to your music like a sudden drop in volume for no apparent reason.

The secret here is to lower the level just a few frames before your sound bite and continue to dissolve for the next second or so beneath other sound sources.

It takes some trial-and-error, but in the end the fade between music and interview should be smooth enough to not draw attention to itself.

10. Learn an instrument. The more you understand music, the more skilled you will become at editing music. You don’t have to be Miles Davis, but a few theory classes will go a long way toward understanding the way music is constructed. And when it comes to cutting music, the ability to distinguish between pitches is an invaluable skill.

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