Mission

The Digital Naturalist is an inspired forum for video, film, and multimedia with a cause. It brings together an elite panel of experts to analyze what makes digital storytelling successful, establish helpful guidelines for advocacy groups, and shine a light on the most effective and inspiring work being produced today. Through analysis, forums, interviews, and personal accounts, we hope to help nonprofit organizations and the creatives working with them better communicate the most pressing, complex issues of our time.

Try This!

If your video is comprised of interviews, try to get your b-roll after you’ve recorded all or most of the interviews. The reason is that inevitably the people interviewed will say certain things that may inspire the kind of b-roll you’ll want to shoot. Read more bladeronner.com.

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Thursday
Apr122012

3 Stumbles

"Caine's Arcade" by Nirvan Mullick

1. Caine's Arcade: A super charming, ridiculously uplifting short film about making a little boy's dream come true. Be sure to watch all the way to the end of the credits!
2. Behind the Scenes of Tyler Stableford's newest film.
3. America's Wilderness: A surprisingly compelling advocacy video by the National Park Service. Did it work for you?

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Tuesday
Apr102012

PROJECT BREAKDOWN: The Other Side of the Clouds

Yosemite volunteers Henk & Georgia Parson at their campsite / © Tucker Walsh

As many of you know, the National Parks Conservation Association (NPCA) recently launched a video that Tucker and I produced in Yosemite last fall. On many levels, it was a dream assignment: Spend 10 days in a stunning national park, and come back with a cool story that supports NPCA's mission. But like any storytelling assignment, we encountered many unique and often stressful challenges.

Check out our video below, then read the project breakdown that follows. And let us know what you think!

THE ASSIGNMENT


One of the coolest parts of working for NPCA is that after seven years, you're eligible for a six-week paid sabbatical to pursue a passion project related to the national parks. Well, last June marked my seventh anniversary as an editor for National Parks magazine. And there was no question in my mind that the following September, I'd hitch up my Airstream, head west to a national park, and direct an advocacy video for NPCA.

After months of planning and brainstorming with coworkers, I set my sights on Yosemite, and invited Tucker to join me to shoot a story about traffic problems within the park. There was just one problem: Two days in, it was clear we'd missed the worst of the gridlock. And while we knew we could probably land some good interviews, it would be impossible to tell this story visually.

Thankfully, NPCA was open to us heading in a whole new direction, and another answer lay in our very backyard. Turns out the couple in the campsite next to us-- retirees turned full-time Yosemite volunteers-- had some fascinating stories to tell. After spending just 15 minutes with them, we knew they'd make great characters for our film. (Read more about this on NPCA's blog.)

So we went right to work. And this is how the project unfolded...

THE CHALLENGES


1. Time. Because we switched stories, we had, at most, four days to embed ourselves with our subjects.

2. Tension. The last film we wanted to make was a fluffy profile video about two jolly volunteers. We needed tension. So when they told us that they hardly ever went into Yosemite anymore, our ears perked up. How does someone volunteer for Yosemite full-time, yet never actually goes there more than once or twice a month? Turns out they spend most days working in an military-like office complex in the small town of El Portal. Their jobs range from stuffing envelopes, to creating spread-sheets, to scanning and cataloging books. Immediately, Tucker's mind started racing for possible ways to introduce this hook: Cute couple that’s traveled the world now sits inside doing mundane tasks minutes away from Yosemite. Why they do it: Year after year after year they continue volunteering to keep busy, stay healthy, and prolong death. They see their old friends just “rocking in their chairs counting down the days,” and they say, “Nope, not us. We’re going to keep on living.” Sounds like the start of a solid little narrative, right? Well…

3. Depth. Here’s where it gets complicated. Henk and Georgia, in their words, come from a generation and upbringing that frowns upon complaining in any way. So during the interviews, there was this stalwart refusal to speak about their jobs or health in any negative light. Admirable qualities, indeed, but certainly makes storytelling difficult. In fact, stuffing 700 envelopes in a dark room all alone on a beautiful Sunday afternoon is something they enjoy! We didn’t buy it. Two days to go, and we’re back to square one of narrative building.

4. Visuals. We had plenty visuals of Henk and Georgia in their RV and the office, but without any direct quotes to carry the tension we wanted to portray, we were basically left with shots of an adorable woman stuffing envelopes. Zzzzzz. One day to go.

5. Advocacy. Three days in, Henk admitted that they didn't "waive the National Park Service flag." Sure, they supported the idea of public lands for all to enjoy. And yes, when it came down to it, Yosemite held a special place in their hearts. But they tended not to differentiate between the value of volunteering in a national park versus anywhere else where they were needed in the past-- like the Olympics in Atlanta, for example. So anytime we fished for an inspiring quote about the power of Yosemite, or something about their connection to the place, or what's kept them there for 10 years, we'd get painfully logical answers: They weren't here because of some intense love or loyalty to the landscape; they were here because they were trying to stay active while they aged. And Georgia's doctor happened to be in the town next door.

THE SOLUTIONS


1. Location. We came to the conclusion that the only way to pull this video off was to get them in the park. It meant they'd no longer be the atypical volunteers that first attracted us to them, but we’d get some beautiful Yosemite visuals-- something NPCA and park lovers would enjoy. So they dug up an old assignment that required them to document historic markers in the valley, and we got a few hours of footage of them in the park, which ended up being nearly half the film.

2. Tension. The more we transcribed, the more we realized that the tension and conflict we needed to create a complex story just didn't exist. So we decided to keep it simple and light, about a charismatic couple coming to terms with aging the best way they knew how: by doing good in a national park.

3. Time. We spent as much time as possible filming Henk and Georgia at work and in their RV-- and they were extremely gracious about this, inviting us in every time because they wanted very much to see us succeed. At night, we'd go through footage and talk about how the story was shaping up, so that by the time Tucker left, we had some semblance of a storyboard to work with.

4. Advocacy. I can't tell you how many times I freaked out over the lack of inspiring park quotes. Had I made a huge mistake, choosing to focus on characters who didn't live for the national park experience? But Henk and Georgia are who they are, and framing them as anyone different would have been a huge disservice to their story. So we went with the story they gave us. And then we threw in as many inspiring Yosemite images as we could. And what do you know, a few months later when I premiered the film at NPCA's headquarters in Washington, D.C., staff were so drawn to Henk and Georgia's charm and honest message that they didn't seem bothered by the lack of inspiring park quotes. One coworker even commented after the showing that because the message was so subtle, more Americans-- park lovers or not-- will be able to relate to the story. Exactly!

3 LESSONS TO APPLY TO OTHER FILMS


1. When in need, remember stock photos. With only a few hours of footage from the park, the video was feeling a little too light on parks for NPCA. So we found three nice, cheap landscapes of Acadia, Ft. Sumter, and, yes, Yosemite-- all of the park units where Henk and Georgia had volunteered-- and then Tucker applied an Instagram effect so they'd match other old photos in the scrapbook scene. Not ideal, but we think it was a pretty clever solution for filling an important visual hole.

2. If your characters aren't opening up in interviews, get them to open up when you're shooting b-roll. A big part of the reason we decided to keep the office scenes is because Georgia finally admitted that stuffing envelopes was “a lot of repetition,” and it was enough to hint at the fact that not all the work they do is glamorous and fun. That said, even without this, we absolutely needed to incorporate their office work into the story somehow; showing them only in Yosemite would have been fiction.

3. Quotes shouldn't have to do all the work. This was a hard lesson for me, coming from so many years of print journalism, where we often rely on stellar quotes to guide stories. But in this case, even though Henk and Georgia didn't say everything we hoped they'd say, we were still able to tell a genuine story about them and let the visuals (Yosemite landscapes, office scenes, hand-holding on trails) do the rest. Never underestimate the power of visuals!

That's all we've got! Thanks to Tucker for adding many of the thoughtful reflections above. We'd love to know what YOU think of the video, so share your comments below, or join the conversation on Facebook!

Thursday
Apr052012

3 Stumbles

Gnarly Bay Productions, Inc.

1. A Story for Tomorrow: One of the most inspiring video travelogues EVER.
2. Silver & Light: A brilliant 9-minute film on an INSANE photography project.
3. Behind the Scenes of "Inside Disaster": Tracy Boyer Clark from Innovative Interactivity offers a fascinating glimpse of what went into the epic films and interactive website documenting Haiti's earthquake.

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Sunday
Apr012012

23 Clues to a Great Story

By Tucker Walsh

WARNING: THE FOLLOWING POST CONTAINS AN EXTREME AMOUNT OF USEFUL INFORMATION REGARDING STORYTELLING!

This TED Talk has an absolute gold mine of information for storytellers. Filmmaker Andrew Stanton spent 20 minutes sharing a lifetime of storytelling wisdom he aquired helping to create movies such as Toy StoryWALL-E and Finding Nemo. Great stories, Stanton exclaims, evoke a sense of wonder. And as he says, "There's no greater ability than the gift of another human being giving you that feeling -- to hold them still just for a brief moment in their day and have them surrender to wonder."

Below are 23 clues to telling a great story, as told by Andrew Stanton.

1. STORYTELLING IS JOKE TELLING. It's knowing your punchline, your ending, knowing that everything you're saying, from the first sentence to the last, is leading to a singular goal, and ideally confirming some truth that deepens our understandings of who we are as human beings.

2. WE ALL LOVE STORIES. We're born for them.

3. STORIES AFFIRM WHO WE ARE. We all want affirmations that our lives have meaning. And nothing does a greater affirmation than when we connect through stories.

4. STORIES CAN CROSS THE BARRIERS OF TIME, past, present and future, and allow us to experience the simularities between ourselves and through others, real and imagined.

5. "FRANKLY, THERE ISN'T ANYONE YOU COULDN'T LEARN TO LOVE ONCE YOU'VE HEARD THEIR STORY." -a quote Mr. Rogers always kept in his wallet

6. GREATEST STORY COMMANDMENT: MAKE ME CARE. Emotionally, intellectually, aesthetically - just make me care.

7. AT THE BEGINNING, ALL GOOD STORIES SHOULD MAKE A PROMISE TO THE VIEWER THAT THIS STORY WLL LEAD SOMEWHERE THAT'S WORTH THEIR TIME. A well told promise is like a pebble being pulled back in a slingshot and propels you forward through the story to the end.

8. START A STORY LIKE YOU'RE TELLING IT TO SOMEONE AT A BAR: "Here, let me tell you a story. It didn't happen to me, it happened to somebody else, but it's going to be worth your time..."

9. STORYTELLING WITHOUT DIALOGUE IS THE PUREST FORM OF CINEMATIC STORYTELLING. It's the most inclusive approach you can take.

10. WE'RE BORN PROBLEM SOLVERS. We're compelled to deduce and to deduct, because that's what we do in real life. It's this well-organized absence of information that draws us in.

11. THE AUDIENCE ACTUALLY WANTS TO WORK FOR THEIR MEAL. They just don't want to know that they're doing that. Your job as a storyteller is to hide the fact that you're making them work for their meal.

12. THERE'S A REASON THAT WE'RE ALL ATTRACTED TO AN INFANT OR A PUPPY. It's not just that they're damn cute; it's because they can't completely express what they're thinking and what their intentions are. And it's like a magnet. We can't stop ourselves from wanting to complete the sentence and fill it in.

13. THE UNIFYING THEORY OF TWO PLUS TWO. Make the audience put things together. Don't give them four, give them two plus two. The elements you provide and the order you place them in is crucial to whether you succeed or fail at engaging the audience.

14. STORYTELLING IS NOT AN EXACT SCIENCE. That's what's so special about stories, they're not a widget, they aren't exact.

15. STORIES ARE INEVITABLE, IF THEY'RE GOOD. But they're not predictable.

16. ALL WELL-DRAWN CHARACTERS HAVE A SPINE. The character has an inner motor, a dominant, unconscious goal that they're striving for, an itch that they can't scratch.

17. CHANGE IS FUNDAMENTAL IN STORY. If things go static, stories die, because life is never static.

18. "DRAMA IS ANTICIPATION MINGLED WITH UNCERTAINTY." -William Archer, British playwright

19. WHEN YOU'RE TELLING A STORY, HAVE YOU CONSTRUCTED ANTICIPATION? In the short-term, have you made me want to know what will happen next? More importantly, have you made me want to know how it will all conclude in the long-term? Have you constructed honest conflicts with truth that creates doubt in what the outcome might be?

20. A STRONG THEME IS ALWAYS RUNNING THROUGH A WELL-TOLD STORY.

21. WHEN CREATING A NARRATIVE, USE WHAT YOU KNOW. Draw from your past. It doesn't always mean plot or fact. It means capturing a truth from your experience, expressing values you personally feel deep down in your core.

22. STORYTELLING HAS GUIDELINES, not hard, fast rules.

23. INVOKING WONDER IS THE MAGIC INGREDIENT, THE SECRET SAUCE. Wonder is honest, it's completely innocent. It can't be artificially evoked. When it's tapped, the affirmation of being alive, it reaches you almost to a cellular level. There's no greater ability than the gift of another human being giving you that feeling-- to hold them still just for a brief moment in their day and have them surrender to wonder.

Good stuff, right? Watch the full talk here.

Friday
Mar302012

3 Stumbles

Rick Gershon and Tim McLaughlin/MediaStorm

1. MediaStorm's latest advocacy film, commissioned by the American Institutes for Research.
2. A complete guide to Google+. Why some are calling it "as special as the Macintosh." TDN is in the process of making a Google+ page. More info coming soon!
3. "Fuck the Fear: Be Awesome." A list of books and resources on creativity, storytelling, and stealing.

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