Tag Archives: videoblogging

SxSWi Report: Designing for the Wisdom of Crowds

NB: I have long wanted to attend SxSwi – where the cool geeks go to party – and this year had my first opportunity to do so, thanks to Sun. This conference is great bang for the buck: registration cost only $450, for four days of good, solid talks. I’ve been meaning for some time to write about sessions I attended and what I learned from them, but time keeps getting away from me. Here’s the first in a series. I hope the next will follow in reasonably short order – but I don’t guarantee that!

I attended Derek Powazek’s talk (slides), which was inspired by James Surowiecki‘s book The Wisdom of Crowds.

Why I attended this session: I work with communities, both online and off. And Powazek is a well-known name in web design, which has been part of my career, so this confluence of topics was irresistible to me.

From my notes:

Surowiecki’s premise is that the aggregate wisdom of “the crowd” can be greater than the wisdom of a single individual (no matter how expert).

According to Surowiecki, the elements of wise crowds are:

  • diversity
  • independence
  • decentralization
  • aggregation

Powazek gave suggestions on how to make the wisdom of the crowd work online:

  • give small, simple tasks (e.g., one-click vote on Hot or Not) – This works best when there is a definite outcome, e.g. a Threadless shirt design is chosen. A grass-roots news site gave a list of desired interviewees, participants then conducted the interview(s) of their choice via email
  • try to have a large, diverse group of participants – This is a sticky point. The Internet is inherently a place where it’s easy for people of all kinds to congregate (absent language barriers), but we still clump with people who mostly think like us. It takes effort to create a truly diverse crowd.
  • design for selfishness: participants have to get something out of it for themselves, even just a chance to win. The “greater good” is not sufficient motivation. (But personal glory can be.)
  • aggregate results so that individual behavior (e.g., tagging) leads to collective wisdom

(However, there’s the Heisenberg Problem: scoring creates a game, and therefore an incentive to cheat.)

Popularity does not have to rule. Amazon’s reviews/ratings are displayed with a histogram of results, and readers can rate each review (“was this helpful? yes/no”), giving feedback on the feedback.

Consider both implicit and explicit feedback.

Implicit:

  • page views
  • searches
  • rate of change
  • interestingness

Explicit = voting and rating, but never ask people to do more thinking than they have to, e.g. use a simple yes/no or thumbs up/thumbs down wherever possible.

Note, however, that you get better data when you don’t ask the question.

Design Matters

Kvetch.com -  The mood of responses became happier when the color scheme changed from dark to light.

Red vs. blue – In testing, people shown blue backgrounds responded with more imagination, while red backgrounds led to better attention to detail. This may occur because red is a danger sign, so people are primed to be more cautious when they see red, whereas blue is calming, so they feel freer to be creative.

(Sun’s corporate theme color is blue, Oracle’s is red. Uh oh.)

Filling in the Blanks

For me, this was the payoff from this talk. Powazek described a study on how people’s feelings of not being in control lead them to see patterns (e.g., conspiracies) where none exist.

He has also written about this in Meaning-Making Machines:

This is relevant online because we have much less input than in real-life social situations. Virtual communications like email, blog comments, and instant messages come without the associated social data our brains are used to. In the absence of context, our brains fill in the rest. What we fill it in with is a byproduct of our own insecurities.

My own thoughts on this:

If you’ve spent much time interacting with people online in email, forums, blogs and comments, you know how easy it is misunderstand someone’s character or intentions when you only know them through text.

Misunderstandings can occur because of differences in language, culture and writing skills, as well as the above-mentioned human propensity to fill in our mental gaps with worst-case assumptions. We are especially negative in our assumptions when we don’t feel in control in our own lives – and, these days, who does? The result is flame wars and other online unpleasantness that simply doesn’t happen in real life.

In my first distance-working experience, I also learned that it’s hard for human beings to work with someone they’ve never seen. I suspect that we don’t quite believe someone is real until we’ve seen them face-to-face. In my six years working from Italy for a Silicon Valley company, I noticed that colleagues were poor at responding to me until they’d met me once (I traveled to California four times a year), then their attitude would change radically. It wasn’t that I did anything particular on my visits to inspire cooperation; it was simply that they now could put a face to the emails and the voice on the phone. I guess that’s human.

Conversely, we can have warm feelings for people we’ve only seen on screens. I have twice now embarrassed myself meeting actors in unexpected contexts, the first at CES, and, more recently, at SxSWi itself: I was wandering the halls when I saw a familiar face. This wasn’t unexpected at SxSWi; videoblogging buds and other folks I know were there. So my brain registered “someone I know and like,” and I rushed up to greet her with an enthusiastic “Hi!” before my memory kicked in with: “You know her from Buffy and Dr. Horrible.” She was completely unfazed; I’m sure this happens a lot to actors.

All this is why I’ve encouraged the Sun teams I’ve filmed to shoot brief introductions of themselves to share online: if you’ve seen their faces and heard their voices in video, you’re more likely to treat them kindly when responding to their text (e.g. in an online forum). And it’s easier to feel a sense of community, kinship, and cooperation with people you’ve seen and heard, even if only via recorded video.

The next step is to get video from non-Sun members of our developer communities. Working on it!

Returning to Powazek, he concluded his talk with some examples of the above-mentioned principles in action, such as a crowd-curated photography exhibit at the Brooklyn Museum.

Rating: A great and useful talk. I should go read his books.

My Upgraded Videoblogging Rig

Back in May of 2008, I wrote about the equipment I was using in my videoblogging for Sun. I’ve had a few upgrades since then:

Camera: Canon Vixia HV30 ($600) – I’ve only had this since early December and haven’t used it much yet. I didn’t feel I needed HD, but it’s hard to avoid buying it these days, and the camera can be set to shoot in plain old DV if I decide that’s better for my (web) purposes. I still insist on shooting to DV tape, for the same reasons I gave before: “Tape is a cheap form of permanent backup, and it stores the video in a high-quality, raw AVI format that I can edit with the software I have, and can output at DVD quality (or better) if I need to… Hard disk cameras, on the other hand, often compress while you’re shooting into a lossy video format – that’s why they can fit so many hours of video onto a small internal hard disk.”

  • Handy camera feature: My old Panasonic camera could run from a battery or from wall current, but only one or the other could be attached. This meant that, if I was running off wall current, there was always the risk that someone would trip over the cord and dislodge it, bringing filming to an abrupt halt. The Canon allows both the battery and the wall plug to be attached at the same time, so this is no longer a risk.

Mics: I’m still using the Rode mic ($150) when I’m shooting a roomful of people, any of whom is likely to burst into song… er, questions… at any moment. But nowadays I also have a great set of Sennheiser Evolution G2 100 series wireless mics ($530). When I bought them, B&H Photo was offering a kit with two lapel mics with transmitters, two receivers, and one handheld mic with transmitter (plus a few goodies). I gave one set of lapel mic, transmitter, and receiver to Peter, who is also videoblogging now. We’ve been using the handheld in interviews (I need to get something made up for it like the news stations use, with an OpenSolaris logo), the lapel mics for one-person videos such as presentations.

BeachTek Audio Adapter: ($180) Had to get a new one to go with the new camera, but these new models should work with just about any videocamera. Still great for all the same reasons as before.

Tripod: Got a compact Bogen Manfrotto ($95) that folds up to 16″, so it fits in my carry-on bag.

Extras: For international travel, the camera’s power supply can handle 110 or 220 volts, but it’s got an American plug, so I need to carry plug adapters for all the countries I’m visiting. I’ve learned that these can be flaky and are easily lost, so it’s good to have extras. It’s also good to have an extension cord and a multi-plug power strip for conference situations, when it’s a fight to the death for outlets. If you have outlets to spare, people sitting near you will be heartily grateful.

Videoblogging: A Month in the Life

Ah, yes, my “glamorous” job… I admit it’s a lot of fun, but right now I’m mostly tired. This month is  the most intense I’ve yet had with Sun. Here’s what it’s looked like so far:

Oct 23: Flew to Minneapolis.

Oct 24, 27, 28: Filmed interviews with the SAM-QFS team at Sun’s Eagan, MN office, flew back to Denver.

Nov 1-6: Filmed parts of Sun’s Data Management Ambassadors’ conference, fortunately being held near my “home base” office in Broomfield. Especially fortunate because I still had a lot to do organizing the SC08 Student party. Worked long office hours when I wasn’t behind a camera in a hotel conference room.

Nov 8: Flew to San Diego.

Nov 9: Much-needed day off (it was a Sunday!), went to the zoo.

Nov 10: Filmed an all-day ZFS Workshop at LISA.

Nov 11: Flew to Las Vegas for Sun’s Customer Engineering Conference. Lunch with Barton, toured the CEC show floor, hung out and had dinner with my OpenSolaris buds, declined to go to a late show with them, went back to my hotel room, watched House.

Nov 12: Filmed an HPC track that took most of the day, plus one other presentation. In the evening, participated in a Birds-of-a-Feather session on blogging. Disagreement was, er, lively.

Nov 13: After a very bad night’s sleep (my room at Caesar’s was right on top of a disco), got up at 4 am to catch a 6:22 am flight to San Francisco. Lynn picked me up, already dialed in to a staff meeting. In the afternoon, moderated the chat as Lynn’s presentation to Forum 2.0 was streamed online. Had a few ideas about how to do the moderator’s job better, will be writing about those later. In the evening Lynn and I had a meeting with Meena, then went back to our hotel for dinner. Had an extremely hot bath – the cold water didn’t work. At least the bed was very comfortable.

Nov 14: Up early again, interesting news on my iPhone. Hurried to get to Sun’s Menlo Park campus for Lynn’s second Forum presentation, then a dash to the airport for our flight to Austin. Arrived a little before 5, Diana about the same time from Denver, then ran into Matthew at baggage claim. Everyone’s coming to town for SC08. Got our cars, I went to Spankyville, where Ross was preparing dinner for a gang of us.

Nov 15: Up at 8 to catch up on emails and run some party-related errands, then on to film at Sun’s HPC Consortium all afternoon. Ended the day filming an interview with Dr. Jim Leylek. Had a quiet dinner with Dominic, went home and to sleep.

Nov 16: Up early again today for the Consortium – first speaker of the day is Andy Bechtolsheim, so sleeping in is not an option! Will be leaving early (Peter will take over the camera) so I can go help set up the venue for the party. That will run til about 2 am, and I’m supposed to be back filming at 8:30 on Monday. Then there’s the SC08 show opening Monday night, and I’ll be filming on the show floor Tuesday through Thursday.

I hope to survive until next Saturday, when I leave for warmer climes and something resembling a vacation. I should note that this month has been equally intense for practically everybody at Sun!

When You’re in Front of the Camera

Most of the people I’ve filmed so far for Sun don’t have extensive television or other on-camera experience and, needless to say, are not professional actors. Being comfortable in front of a camera is a good skill to have in our video-driven age, but it doesn’t come naturally to most. The tips below are some things I’ve learned in my attempts to put my subjects at ease.

Those of you who’ve had the pleasure (?) of being in front of my camera will have heard a lot of this already. If you have more to add, I’d love to hear it (in the comments).

Preparation:

How much you prepare in advance is, as far as I’m concerned, entirely up to you. Often the preparation is already done, because we’re capturing on film a presentation, TOI, etc. that you have already delivered one or more times. But I’ve also filmed off-the-cuff interviews where the interviewer and interviewee met for about ten minutes beforehand, agreed on a list of questions, and then sat down in front of the camera and talked. When both parties know their topic (and you do), this works just fine.

If you say something you wish you hadn’t, or stumble over a line, we can always edit it afterward, or do another take. You don’t have to be perfect the first time, or even the second.

There is no canonical length for online video. As long as what you have to say is interesting and useful to your audience, they will watch it. Probably not in YouTube viral numbers, but the people who matter (even if they’re only a handful) do pay attention.

Humor is great if it comes naturally to you, but there’s no need for gimmicks to keep your audience engaged.

Clothing:

  • Do NOT wear narrow vertical stripes. They cause moiré patterns which look psychedelic on video – probably not the effect you’re looking for.
  • Warmer colors are preferable to black or gray, which can look very funereal on camera.

Standing, Moving:

  • Don’t feel that you have to stand in one place for the camera. If you naturally tend to pace when speaking, go ahead and do that – you’ll feel more comfortable, and that makes better video (I’ll follow you with the camera – it’s my job to keep you in the frame).
  • Hand gestures are great (they add liveliness), but try to keep them high on the body (waist level or above) so I can catch them while still zoomed in to get a good view of your face.

Where to Direct Your Gaze:

To get the most natural result for the video viewers, it’s best if you look directly into the camera lens, as if it was the face of the person you’re talking to. However, this can be hard to do without a lot of practice, and some people are uncomfortable with it.

  • If there are two or more of you: In interviews or round-table sessions, you’ll probably find it natural to look at each other more than/instead of the camera. But do try to include the camera in the conversation, as if it was another person – this makes your future viewers feel included.
  • If it’s just me filming you, I try to position myself so that, if you talk to me, you’re also making “eye” contact with the camera lens.
  • If I can film you in front of a real audience, that often works better: many speakers find they are more energetic when they’ve got the right people listening to them.

Scripts and Prompts:

  • I have rarely filmed anything totally scripted (though you can certainly do that if you prefer), but you may find it helpful to speak from notes or slides.
  • You can improvise a “teleprompter” by printing your notes or script large enough to be read from a distance (e.g., from the floor while you’re sitting in a chair). I’ve even had someone stand beside the camera and “wind” a scrolling script for my subject to read – the result was great because the position of the script kept her looking towards the camera the whole time. Another time, the subject wrote (in advance) on a flipchart that she positioned near my shoulder so she could look into the camera while following her notes.

Slides:

When I film a presentation with slides, I usually zoom in on the speaker’s face/upper body, and may not get the slides into the frame at all (unless you’re walking in front of the screen gesturing at a slide – that’s okay, too). I take notes on the timing of slide flips (using the timecode on the videotape as I’m filming) and later edit in the slides as graphic overlays; here’s an example.

Many speakers make slides so dense with information and small text that they cannot be read at video resolution (nor from the back of a room). Needless to say, this makes things hard for your viewers.

  • If you’ve got so much text on your slide that the font becomes too small too read, you probably need to use less text and/or break that thought into two or more slides.
  • Some complex diagrams simply can’t be broken down. In this situation, especially where there are small text labels involved, it helps to explain out loud each element of what you’re showing, because people may not be able to tell by looking at it.

My Videoblogging Rig

One of the things I do for Sun is videoblogging. I use that term in preference to videography, filming, etc., because I don’t claim to be a video professional.

Nor do I have professional equipment. I need to be light on my feet (and in my suitcase), and I often have to shoot under less than ideal situations. When professional video services are justified, Sun has (expensive) teams to provide them.

But I’ve been upgrading, with advice from my videoblogging friend Jan McLaughlin, who’s a movie sound professional.

So here’s what I’ve got:

Camera: Panasonic PV-GS500. It’s a decent camera, 3CCDs, but really nothing special; we got it cheap because it was a floor model at Best Buy. I prefer cameras that use mini-DV tape. Tape is a cheap form of permanent backup, and it stores the video in a high-quality, raw AVI format that I can edit with the software I have, and can output at DVD quality (or better) if I need to (though I more often compress to Flash and iPod video formats for online distribution). Hard disk cameras, on the other hand, often compress while you’re shooting into a lossy video format – that’s why they can fit so many hours of video onto a small internal hard disk.

Extra battery: Some of the events I’ve videoed weren’t set up for it, at venues that wanted to charge hundreds of dollars simply to supply a convenient power outlet. It made more sense to get an extra battery that will last several hours, and having two means I can charge one at a less-convenient outlet while using the other on the camera.

Sound

At the first big event I taped, I learned that it’s tricky to attach a professional sound board to a consumer videocamera. Running a big, heavy XLR audio cable into the camera’s 1/8″ audio jack required an adapter and was a shaky arrangement – we lost half the audio on one presentation because something came loose.

On Jan’s recommendation, I bought:

  • Rode VideoMic: Gets much better sound than the camera’s internal mic, especially when aiming across a roomful of people. This is particularly useful in less-formal talks when there’s a lot of Q&A between the audience and the speaker, and it’s hard to get people to use secondary mics even if available (it’s also hard to get speakers to repeat the questions). This mic is also great for hand-held shooting – it doesn’t weigh down my camera hand too much.
  • BeachTek DXA-4P Dual XLR Adapter: This is a mini-mixer that fits between the camera and the tripod, with a mini-jack that goes into the camera’s mic jack. It provides a much more stable connection for XLR cables, and can also take input from another source such as the Rode mic, as shown above. Audio levels can be set independently for the two channels using the knobs – while you’re filming, whereas the camera’s internal audio level can only be set when you’re not.

I won’t claim I’m getting the best possible results from this setup; I’m still learning to use it. But the sound quality of my videos has improved markedly since my early efforts.

^ Here’s my equipment bag for carting stuff to and from the show floor. It’s a reusable grocery bag bought at a Santa Cruz supermarket the other day for 99 cents.

As for editing, I use the Roxio VideoWave software that comes with Roxio Media Creator. It’s easy to use (with a few irritating quirks) and so far has most of what I need, including text and graphic overlays. Again, it’s good enough, while a software upgrade would also require a skills upgrade that I don’t currently have time for. When we need professional video editing, there are folks available at Sun to provide that service.

And here’s how I post Flash video to Sun blogs and other sites.