Using Transitions in ScreenFlow 9

During film editing, video transitions are used between clips to smooth the jump from one clip to the next. Transitions are particularly useful when you need to cut out a mistake made when filming a person speaking to the camera. In this video tutorial, I show how to use transitions in ScreenFlow 9 and go through a few examples such as:

  1. transitioning between mismatching segments of a speech.
  2. avoiding dropped audio during a transition.
  3. fading out a picture-in-picture window (showing your image) in a PowerPoint recording.

Here is the tutorial:

The Pixar Storytelling Formula

Pixar films tell great stories. Toy Story. Finding Nemo. WALL-E. Up. These and other films have together grossed $ billions and won many awards. For example, WALL-E, one of my favorites, earned $533 million at the box office and several awards, including an Academy Award for best animated feature. How do they do it? Pixar story artist, Emma Coats, says that every Pixar film follows the same narrative formula, which involves six sentences (#4 in a list of 22 storytelling tips). Pixar’s formula seems to be derived from one developed by Kenn Adams, teacher and author, who posted his version (with eight steps) on his blog, Back to the Story Spine.

This is how it works. Each sentence begins with a few words followed by a blank space to be filled in by the storyteller. You can use six steps or eight:

  1. Once upon a time, there was …
  2. Every day …
  3. One day …
  4. Because of that …
  5. Because of that …
  6. Because of that …
  7. Until finally …
  8. Ever since then …

Those of us in science wishing to be better communicators, especially with video, can adapt this narrative formula to tell our science stories.

For example, we might want to tell a story about a research project to show students how scientists work. Here’s one story designed with the eight-step formula:

  1. Once upon a time, there was … a scientist who was interested in how coastal forests called mangroves managed to avoid submergence by rising sea level.
  2. Every day … the scientist read journal articles that said mangrove forests keep pace with sea-level rise mainly by accumulating mineral sediment carried by rivers, tides, and currents.
  3. One day … the scientist collected cores from beneath several mangrove forests in the Caribbean Region and found mostly organic deposits called peat.
  4. Because of that … the scientist wondered if plant matter (dead leaves and roots) might build up enough to help some mangrove forests adjust to changing sea level.
  5. Because of that … the scientist, along with colleagues, conducted a 3-year experiment on a mangrove island in Belize to see if a change in production of plant matter could alter vertical movement of the soil surface.
  6. Because of that … the scientist showed that production and accumulation of mangrove roots were mainly responsible for upward expansion of the soil surface.
  7. Until finally … the scientist was able to report that Caribbean mangroves adjust to rising sea level through biological controls on change in soil elevation.
  8. Ever since then … scientists have had a better understanding of how loss of mangroves may affect vulnerability of tropical coastlines to sea-level rise.

That’s the story of how one of my research projects came about and how it turned out. I published that paper in 2007:

McKee, K.L., D.R. Cahoon, and I.C. Feller. 2007. Caribbean mangroves adjust to rising sea level through biotic controls on change in soil elevation. Global Ecology and Biogeography 16: 545-556.

My formula-guided story illustrates how scientists make observations that lead to new hypotheses, experiments, and a more refined understanding of an ecosystem—suitable for an audience of science students. But I could have told other stories—for example, the challenges I experienced conducting research in a remote, waterlogged, bug-ridden habitat.

The Pixar formula is similar to an older storyline called “The Hero’s Journey”, which I’ve described before. The nine-step Hero’s Journey features a protagonist who encounters a catalytic event, which propels her to take action and to eventually achieve a goal. The Pixar formula is a bit more generic and has several steps, but also involves a conflict and a resolution. Even briefer is the ABT (and, but, therefore) model promoted by Randy Olson.

Take your pick. All of these narrative formulas can aid scientists in telling stories that people can understand and remember. If you want to make a video about a science topic but are having difficulty coming up with a story, give one of these formulas a try.

But I’m Not Artistic!

The Starry Night by Vincent Van Gogh, public domain

“If you hear a voice within you say, ‘You cannot paint,’ then by all means paint, and that voice will be silenced” – Vincent Van Gogh

That quote by Van Gogh is about our internal censor—the voice that erodes our confidence and prevents us from trying something new or challenging. Whenever I talk to a group of students or colleagues about making videos about their scientific research, someone invariably responds by saying that they aren’t very artistic and thus cannot be very good at videography. So, why even try?

I understand why they might think this way. Many people are reluctant to engage in any activity that presupposes creativity or artistic ability. Musicians and artists are believed to be somehow different—that they possess inherent talents the average person lacks.

However, as children, we all happily and unselfconsciously draw vivid pictures and make up imaginative stories. Then something happens. A teacher or parent says something discouraging, or our peers make fun of us. Or, as we grow older, other activities draw our attention, and that artistic spark fails to evolve.

I was lucky in that I continued to draw and sketch through childhood. I was an aspiring scientist and spent a lot of time drawing plants, insects, and protozoa that I could see with my microscope. I knew that such detailed drawings were important records for a biologist or ecologist to create. Even after digital devices came on the scene, I continued to sketch in my field notebooks and in the personal journals I kept. My ability to capture an image using only pencil and paper matured. Each drawing was better than the last one. I even became good enough to work as a free-lance scientific illustrator for a while.

My point is that any skill, whether artistic or not, improves over time with practice. With videography, your first attempts will likely not be great, perhaps even terrible. But it doesn’t matter because you will improve with each succeeding video you make. This point  is especially relevant for scientists and other professionals who want to use video as a communication tool. We’ll likely never be as good as a trained filmmaker, but we can still produce effective videos.

In fact, the scientist videographer’s goal is not to be a professional filmmaker but is instead to be a more effective science communicator. Scientists must still learn to communicate using traditional means such as writing articles for publication in journals and speaking at conferences. But we must also be able to use other media to communicate, such as video, which is now a popular way for people to get their information.

And by the way, there is no right way or wrong way to make a video. Worrying about making a technical error or being judged from a filmmaking standpoint is paralyzing. I always advise students who suffer from writer’s block to, “Just write and get your ideas down first; go back later and polish.” Most find that once they are freed from the fear of making a technical error or of not writing the perfect sentence, the words begin to flow.

That approach also works for videography. If you find yourself paralyzed with doubts, just start filming—yourself or others conducting field research or working in the laboratory. Film with the thought that you’ll not necessarily use all of the footage in your video. That view will likely free you to capture a variety of footage and give you some much-needed confidence about filming. I think you’ll find that once you’ve got some footage in hand, the creative juices will begin to flow.

So, if you are disappointed in your first attempts at videography (or are hesitant to even try), remember that even the best videographers were once novices. The difference is that they ignored their internal censor, which was gradually silenced as they made each succeeding video.

For more about this topic see: The Stages of Learning Videography (and Other Skills)

How to Handle Negative Comments about Your Videos

Have you ever gotten a comment about one of your videos that contained a personal attack or profanity? Are you wondering how best to deal with such comments? About comments that are just critical? In a new video, I offer my perspective and experiences and describe ways to deal with negative comments, including how to handle comments that are critical but otherwise civil.

There are lots of other videos out there that offer additional perspectives and strategies for dealing with people who leave hateful comments. Here are links to a few that I think are especially worth watching:

How to Deal with Haters & Negative Comments on YouTube

How to Deal with Negative Comments on YouTube — 5 Tips

How to Deal With Negative YouTube Comments

Using Screenshots and Published Figures in a Video

I’ve previously talked about how to make a video when you have only photographs or when your topic is not very visual. Using still images instead of film footage is sometimes the best option for many scientists who just have photographs to work with or who find shooting video footage too challenging or time consuming. In addition to photographs, a science video may contain figures from a published paper or book or a screenshot (still image of a computer screen) of material on a website. In this post, I offer a few thoughts about using such images in a video.

Screenshots

Some video creators use screenshots to show the viewer how to use an app or how to use an interactive tool on a website. The screenshot approach is less challenging and does not require additional software that would be needed to capture video footage of the computer screen. All you need to know is how to capture a still image of your computer screen. The exact method for screen capture varies with operating system, but usually involves a keyboard shortcut. For example, on a Mac OS, holding down the shift key, command key and 3 will prompt a screenshot of your entire screen (which is saved to the desktop). Shift + Command + 4 will allow you to draw a window to select a portion of your screen.

However, be careful about what you capture with screenshots so that you don’t infringe the copyright of online materials. For example, don’t use screenshots to copy photographs on someone’s website; instead, contact the photographer and ask permission or pay a fee. Some companies have information about use of screenshots from their website or products. Google, for example, allows free use of screenshots of a search results page for instructional or illustrative purposes—as long as nothing is altered:  https://www.google.com/permissions/products/ Unfortunately, not all companies have such clear guidance, in which case, you’ll have to seek permission. See the Stanford University Libraries website on copyright and fair use for more information about websites and copyright. Here is a website with an interactive tool to allow one to determine if material is under copyright or in the public domain (USA only): http://www.librarycopyright.net/resources/digitalslider/index.html. And here is a handy app to determine if your use is fair: https://www.newmediarights.org/fairuse/

Published Figures

Finally, you might want to use a figure from a journal article (your paper or someone else’s) in a video. Since the article is protected by copyright, you will need permission from the publisher (or other copyright holder) to reuse the figure in its published format. Academic publishers often get such requests for reusing figures in review articles and books.

Getting permission for reuse of a key portion of a published journal article may be easy or difficult. Springer Nature, for example, has a user-friendly procedure. All you need do is locate the Rights and Permissions link on the first page of the online article. Clicking it will take you to Springer’s RightsLink site where you can then enter information about what you want to reuse (e.g., the abstract or a figure) and how you plan to use it (e.g., in a conference presentation or on a website). A cost for reuse of the material is calculated, and you then register your request. I’ve previously gotten permission to use several graphs from a Nature article in a conference presentation. The process was quick and easy, and there was no charge for my particular use. All I had to do was include an attribution with each figure in my presentation.

Note that if the figure is from one of your papers, you can always present the data in a different format in your video and not need permission from the publisher. The data are still your intellectual property.