Issuu on Google+

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Nov - Dec 2011

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For members of the PA/VI community

R M AT

INSIDER

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NAVY IMAGERY

U S N AV Y

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NI L NISI VERUM

An

Aircraft Carrier

Photo by MC2 James R. Evans

First

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AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

Full story on page 8


a product net as possible for each situation.

Photo by MCSN Karolina A. Martinez

Meet the Ops Guy: Paul Taylor BLUF: I work at CHINFO, and I’m here to help you… Seriously! My name is Paul Taylor, and my official title is operations manager for the Navy Office of Information’s media content services directorate (OI-2). My position was established in the reorganization of the CHINFO staff to coordinate communication across our “owned” media platforms using our internal editorial, still photo, video and social media capabilities. What does that mean to the Navy and what does that mean to you? For the Navy, the intent is that rather than communicating randomly across preferred mediums or using preferred product types, I’ll help account owners or fleet PAOs communicate across the full spectrum of mediums with the full range of product types appropriate for the effort. For you, I view my job as working for you to help you achieve your (and your leadership’s) communication objectives by leveraging the power of Navy-owned media platforms like Navy.mil, All Hands Update, a variety of interactive social media, and the Navy Imagery Server. To that end, you’re going to be hearing from me a lot more frequently than you might have heard from CHINFO in the past. My intent will be to let you know what sort of communication products are needed in order to help tell our Navy’s and your organization’s story. For the most part these will be products you’re already working on, but in some cases I’ll ask you for a communication product you may not have considered. My intent will almost always be to cast as wide

But if you take nothing else from this column, know this: I don’t want our communication to be just me calling you — I hope you will also call me so we can work together well in advance to support the communication initiatives.

The other key point I’d like to stress is this: as a community, we absolutely must, in a significant way, shorten the amount of time that passes between an event occurring and the release of our communication products about that event. One of the benefits of internal communication products is that we’re able to tell our stories free of external constraints. If we do a better job of increasing our speed of play, we make it possible to market those internal products to external media who may not be able to cover an event. If we provide relevant, compelling, and TIMELY content, it is more likely we will see our products in external markets. The submarine force provided a recent example in the CHILEMAR submarine rescue exercise Nov. 2. We worked closely in advance of the exercise with Cmdr. Christy Hagen, Lt. Cmdr. Denise Garcia, and the staff at NPASE-West to identify the products that would make it possible for us to help them tell their story. We then worked together to determine how much they could realistically support (which was all of it, by the way), and agreed on a product submission timeline. Less than 24 hours after the submarine rescue vehicle entered the water, we had received all the agreed upon products (Navy.mil story, still photos, b-roll, social media video, All Hands update). Since they were completed in a timely manner, we used them in an external media push to several hundred U.S. and Chilean media outlets. When a comprehensive plan like that comes together, it’s a thing of beauty! Please don’t hesitate to call me or drop me a note anytime we can help! Email me at william.p.taylor@navy.mil, or phone the office at 703-614-9315, or on the cell at 703-835-7537.

DIRECTOR DEPUTY DIRECTOR

Christopher Madden CDR Gary Ross

EDITORIAL Editor Staff Writers

Contributors MCC Sam Shavers USS Carl Vinson (CVN 70) Staff

CDR Gary Ross Oscar Sosa Damon J. Moritz

LAYOUT/ART Director

2

Tim Mazurek

AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

DIRECTOR’S CORNER OI-2 continues to mature in its new role as Navy Media Content Services. A critical part of that effort has been new partnerships with MCs assigned to Defense Media Activity (DMA); they are now full-up members of the OI-2 team. Today, MCC Antuan Guerry is partnered with our emerging media division OI-24 to support ongoing development of the Navy Blog. While MC2 Alexander Gamble is managing posts on the Navy’s Facebook account; as I write, he is deployed to Pearl Harbor, Hawaii providing content on Navy.mil and Navy social media outlets armed with a camera, laptop and air card. MC1 Andrew Meyers and MC2 Patrick Gearhiser are qualified assistant photo editors on the OI-21 team supporting Oscar Sosa with getting your imagery posted, linked and distributed faster. All four have had a positive and immediate impact on OI-2’s ability to lead timely, targeted and relevant media content initiatives in support of the fleet. On another note with the sun-setting of All Hands magazine, we are starting to look at new and innovative ways to showcase visual content, particularly feature material. So in the spirit of All Hands we are developing property on the Navy Blog to exhibit photo essays. The first is already on NavyLive so check it out and provide us your input and recommendations. This is intended to be a dynamic environment so try not to think in terms of a traditional magazine layout, but an opportunity for MCs to tell stories exclusively through images on-line. Images for consideration should be forwarded to navymedia@navy.mil. Please add information to the accompanying email or metadata to help identify your images for NavyLive consideration. For more information’ contact Mr. Oscar Sosa oscar.sosa1@navy.mil or Lt. Shawn Eklund shawn.eklund@navy.mil. In closing, I hope everyone has a moment to pause and enjoy family and friends as we head into Christmas and New Years. Remember the many shipmates forward deployed and away from home during the holiday season. Watch out for each other and return after the New Year ready to continue telling the Navy’s story in 2012. Navy Office of Information Pentagon RM4B514 Washington, D.C. 20350-1200 Office: 703-614-9154 DSN: 224 Download Insider at: www.slideshare.net/NavyVisualNewsService http://issuu.com/NavyVisualNewsService

navymedia@navy.mil


INSIDERPerspective by MCC SAM SHAVERS

Ditching my L aptop

for an iPad

Michelle Turne

r and Tim Ma

zurek

I

know what you are thinking: “Why would anyone ditch their laptop for an iPad, especially someone in the Public Affairs/VI community?” Laptops are

tions by MC1

certainly more powerful, and one could argue they’re

better suited for a mobile Mass Communication

Photo Illiustra

Specialist. Right? Well not exactly, at least not in my case. It is all about the right tool for the job. As part of the Secretary of the Navy’s travel team, I’m on the road a lot and have to release photos and video quickly, but when I’m shooting on the fly and editing on a laptop in the back of a moving car, it’s hard to be timely. Post production is nearly impossible, unless I use my iPad. Why? Well for starters it’s smarter, lighter, and more portable than a laptop. Mine fits conveniently in the side-pocket of my camera bag, always on and ready to be used. With the iPad Camera Connection Kit, I’m able to transfer raw, jpegs and HD video files to my iPad with ease. This allows me to email, upload or edit media from an event in real time, meeting critical deadlines for both internal and external audiences. Additionally, with Apps like iWork, Filterstorm Pro and Photogene, I’m

Instruction Nugget 703.614.9154

able to write my captions, color correct all my images as well as batch edit ITPC data faster and more intuitively on my iPad. For video files, iMovie does a pretty good job of converting my HD video into just about any format. With all these Apps, my workflow is efficient, allowing me to upload my content straight to CHINFOs Media Content Services OI-2, Flickr, Facebook and Youtube, on deadline. Now, I have to be honest, I haven’t completely ditched my laptop---at least not yet. Until hard-drives get bigger and Apps get better, I’ll still do all my serious editing and post production on a laptop, but in the field my iPad is at the center of my workflow. Just like the laptop replaced the desktop, I think iPads will become the gold standard among mobile photojournalists and yes, the MCs of the future.

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 ID, VI Activity Management, Combat Camera (COMCAM) and, Prohibited Alteration of Official DOD Imagery. www.dtic.mil/whs/directives/corres/pdf/504002p.pdf AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

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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.

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Photo by MC3 Megan L. Catellier

Photo by MC2 Dominique M. Lasco

Most establishing photos, however, are treated like snapshots. The photographer looks at the scene, takes a photo with a wide-angle lens and then moves in to cover the assignment. Unimaginative images taken this way rarely contribute to the story. A good establishing photo must be able to stand alone as a storytelling image because the establishing image is often the main image used to help tell the story. Every assignment should have an establishing shot. Promotions, homecomings, community service events, flight deck operations, VBSS, general quarters drills, just about any event needs to have a good, overall shot that sets the scene and shows the context of the event.

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Ship commissionings are great examples of establishing shot successes and epic fails. Roughly half the commissioning photos we receive don’t show the ship. Everybody gets the principals at the podium and some photographers send in images of Sailors manning the rails, but many photographers don’t take photos of the ship that’s being commissioned. A good image of the ship is essential to establishing the context for the event. Many establishing photos require planning. Knowing the time and place usually isn’t enough, sometimes it’s necessary to arrive ahead of time and set up before the event, or speak with the event organizers to get a good idea of when and where some of the best moments will occur. The Carrier Classic basketball game is a great example of pre-planning. The USS Carl Vinson photography staff was in position long before the game started and captured several scenesetting images that were carried by all the major wire services. There’s no law that says establishing shots have to be taken with a wide-angle

AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

There are no rules for taking an establishing shot, except that an establishing photo is the most important image of any shoot.

Photo by MCSN Tyler J. Wilson

As the opening image of a multimedia presentation or picture story, the establishing shot introduces the viewer to the subject and makes the viewer want to see more. A good establishing shot taken at the beginning of a shoot also allows the photographer to concentrate on getting in close to capture important details or to step back to give the subject context.

lens. A medium or long telephoto shot can also establish a location and set the scene. One tight image that tells the entire story is more dramatic than a series of images that individually give glances of an event. Telephoto lenses add impact by compressing the image and cleaning up the background, as well as giving the photographer an important tool to focus on a single element in an event and use that scene as a vehicle to tell the story. See the photo below for a good example.

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GOTB-ROLL? by Damon J. Moritz

The

Little Codecs Once upon a time digital video was transmitted as MPEG files. Everyone knew what export settings to use and how to deal with an MPEG file for broadcast. Videographers, editors and customers lived in harmony. Then in walked the Internet, and it all went to…

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Perhaps an oversimplification of the problem, but today Navy video encode standards are all over the place, creating headaches for the MCs and their customers. Before we go in-depth on some of the problems, let’s define two terms: Codec: A video codec is software/code that enables video compression and/or decompression for digital video. Much like a JPEG compresses and decompresses a photo. It is a sort of brand of video encoding that helps the user standardize and become interoperable with other users. H.264 is one of the more commonly accepted codecs. Container: A container or wrapper format is a metafile format whose specification describes how different data elements and metadata coexist in a video file. For example: The QuickTime .MOV file is a very common container. Typically when encoding a video file in H.264 codec and exporting a MOV container, the video is a readily 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.

AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

navymedia@navy.mil


Now let’s broaden our view a little. There are several categories of codecs. These categories play a vital role in your selection of the right codec for the right job. There really is no one magic-codec. Professional/Acquisition codecs/containers: These are codecs produced by the video camera while recording. This is 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 of proprietary codecs on the market that require all users to either license or at least install their codec to work with the video. Examples include: MPEG Long GOP (M2T), AVCHD, PII, RED, AVC, OP1A MXF, Go-Pro cineform. Intermediary/Archival codecs/containers: These codecs offer easy exchange with other video editors. They retain exceptional quality but can produce large files that present challenges for transmission capabilities. In the long run they will stand the test of time as broadcasters invest in these technologies. Examples include: MOV with DVCPro, MOV with JPEG 2000, MOV with DNxHD and OP1A (XDCAM MXF). Exchange codecs/containers: With these codecs we’re starting to sacrifice quality for file size and/or interoperability. These are the more common codecs offering fairly good quality for broadcast. They really aren’t intended for meeting long-term archival requirements, but they are generally good enough for quick file exchanges when trying to meet a deadline just keep the original file intact for archival considerations post event. Examples include: MOV with H.264, and WMV with WM9 Advanced.

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Delivery codecs/containers: These are final products. When you use these codecs you are selecting them for very specific deliverables. When the file is written, portions of “excess” information are stripped or compressed in such a way as to optimize them for playback. Once a delivery codec is used it really limits the use or quality of a file. Examples: MP4 with H.264, M4V, FLV [Flash], MPEG2 (DVD). At this point you may be a little confused. Why isn’t an MP4 (H.264) considered an exchange format? It has the same codec and should be the same as an MOV (H.264), right? Well, no. If you look at the available customizations (In your editor or in QuickTime Pro) when using these different codecs you’ll see that there are varying levels of changes available. In an MOV with H.264 you can control significantly more than in an MP4 with H.264. The container for MP4 is designed for a specific type of usage and as such it eliminates or compresses what it doesn’t need. This limits quality and to some degree of interoperability. MP4s are great for YouTube, but no so great for editing or archiving. MOVs are better for editing and archiving and still deliver in YouTube. On a day-to-day basis we see a lot of MP4 files coming from the fleet. These files are not our preference, where as the QuickTime MOVs are our preference and achieve the right balance between quality, file size, and interoperability. For the record, FLV files are a non-starter. One last pitch; the Navy wants to provide support to documentary and motion picture venues; OI-2 needs those professional or archival quality files. Your work is too important to treat as perishable media without a full lifecycle.

AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

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Photo by GSE Eva Alvarado

The Carrier Classic Chronicle:

How Mass Communication Specialists Provided Full-Court Press Coverage Photo by MC2 James R. Evans

by USS Carl Vinson (CVN 70) Public Affairs Staff

Photo by MC2 Dylan McCord

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 James R. Evans

That day came with the inaugural Quicken Loans Carrier Classic basketball game aboard USS Carl Vinson (CVN 70) on Veterans Day, Nov. 11. This was an opportunity to cover a one-of-a-kind event and showcase the abilities of the Navy MC to the American public and external media outlets. President Barack Obama and Secretary of the Navy Ray Mabus joined thousands of service members to watch the NCAA Division 1 University of North Carolina Tar Heels face the Michigan State University Spartans on the ship’s flight deck; something that has never been done before.

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Weeks prior to ESPN’s live television broadcast on game day, Navy MCs were catering to an audience excited about the historic event, said Vinson’s PAO, Lt. Cmdr. Erik J. Reynolds. “There was a strong interest from the Pentagon, Chief of Information (CHINFO), Defense Media Activity (DMA) and external media for the products many of our MCs were producing throughout this event,” Reynolds said. “We were in constant communication with CHINFO’s OI-2 staff so we would know exactly what types of products were needed both for the internal Navy and the external civilian audience,” added MCC (AW) Monica Nelson,

AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

navymedia@navy.mil


Photo by MC3 Rosa Arzola

Photo by MC2 Dylan McCord

Vinson’s Media Department assistant leading chief petty officer. It is important to know that MCs form across the Southwest region joined forces with Vinson’s Media Department to produce and release six print stories, seven social media videos and more than 260 photographic images. “Naval Air Forces, Navy Public Affairs Support Element (NPASE) West, DMA and Vinson’s Media Department did an outstanding job covering all the different aspects and development of the Carrier Classic,” Reynolds said. “This was truly a large scale Navy Public Affairs community team effort, more so than any other event than I’ve been involved in the Navy.” Vinson and NPASE West MCs spent more than eight days acquiring b-roll for a sum total of 50 viewable hours made available to the public through OI-2’s Navy Imagery Server and the Amazon cloud.

and ESPN sports analyst Dick Vitale. MC3 Kevin Harbach logged scores of hours following MC3 Bell and working together with him to edit a final product, requiring many late nights and countless edits by Chief Nelson before a product was finally uploaded to the Navy’s YouTube and Facebook pages. “Being in front of the camera gave me a chance to represent the Navy to people who I would normally watch on TV,” Bell said. “I stepped into the shoes of the people who would normally tell me what is going on at what may be a hard news event, or in this case, a sporting event. It’s a huge deal.” While telling the Navy’s story is the main focus, it was also a mermorable opportunity to converse with athletes and an NBA Hall of Famer. “It was an honor to be thanked by people like [Earvin] “Magic” Johnson and the President for serving my country,” Bell said. “It was really humbling.”

While social media has been a widely used communication device for some time, the Carrier Classic gave MCs the MC1 (SW) Lowell Whitman, Vinson’s opportunity to use it in new and unique Media Department leading petty officer, way as a critical means of message noted the popularity of an MC-created dissemination. For example, MC3 Zachary time-lapse video covering the set-up of Bell stepped out from his usual spot the Carrier Classic arena. behind the video camera and onto the other side of the lens as a social media “It was viewed by more than 3.9 million personality to engage an audience with people when it was used on ESPN,” Whitpregame updates, including tours of the man said. “I’ve done many time-lapses for ship with the NCAA basketball players various productions in the past, but the 703.614.9154

AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

Carrier Classic provided me with an opportunity to do a much longer time-lapse. It was an interesting challenge and a lot of fun” [Read how he did it on page 12]. Security was tight, so access to the game was restricted to eight MCs in the open-air arena wearing credentials, but only two were permitted courtside with additional all-access passes provided by the Morale Entertainment Foundation. Planning ahead was the key to ensuring smooth coverage of the game, according to game photographer MC2 (SW) James R. Evans. “It was difficult, but not impossible to shoot this event since there were so many barriers and restrictions,” Evans said. “Thanks to coordination and early planning with Secret Service, we were able to push through all the barriers and get the job done.” Link to photo gallery here. Each product requirement was looked at from a team perspective with pre-writing done whenever possible. The video team lead wrote scripts to shoot by; the print team lead required rough drafts from team journalists prior to a story on construction, player tours, or the main event; and the photo team lead made standard photo caption tags for all the photographers to use. “Success comes from planning,” added Lt. Erik Schneider, Vinson’s assistant PAO. “We planned this event early with many commands that had a huge role in supporting us.” 9


[

][

AP Style Guide

NEW IN 2011 – email, cellphone and smartphone – all one word, lower case. DOMESTIC DATELINES: Cities which stand alone without state designations. ATLANTA BALTIMORE BOSTON CHICAGO CINCINNATI CLEVELAND DALLAS DENVER DETROIT HONOLULU HOUSTON INDIANAPOLIS LAS VEGAS LOS ANGELES MIAMI

MILWAUKEE MINNEAPOLIS NEW ORLEANS NEW YORK OKLAHOMA CITY PHILADELPHIA PHOENIX PITTSBURGH ST. LOUIS SALT LAKE CITY SAN ANTONIO SAN DIEGO SAN FRANCISCO SEATTLE WASHINGTON

INTERNATIONAL DATELINES: Some Special Cases Use UNITED NATIONS without a N.Y. designation in stories from U.N. headquarters.

LM

E D IA

Instead of United Kingdom use England, Northern Ireland, Scotland or Wales respectively.

S O CI A

Your Social Media Team: LCDR Chris Servello LT Shawn Eklund Jessica Faller Kristina Miller

][In the Loupe]

Schedule of Events

2011 CHINFO Merit Awards Entries due at CHINFO by January 31, 2012: Details available at https://www.chinfo.navy.mil/chinfo/ MediaAwards.aspx “Serving Abroad … Through Their Eyes” Calling on all MCs, DOD is sponsoring a special exhibition at the Smithsonian American Art Museum, the Pentagon and other prominent venues, stateside and overseas. The submission period runs from Veterans Day, Nov. 11, 2011, through Presidents Day, Feb 20, 2012. Get the details at: www.ourmilitary.mil/their-eyes/ serving-abroad-through-their-eyes/ Photoshop World 2012 March 24-26 – Walter E. Washington Convention Center – Washington, DC Registration: https://photoshopworld. com/register/ 2012 Navy Week Schedule Phoenix, AZ March 19-25 New Orleans, LA April 16-23 Nashville, TN May 7-13 Spokane, WA May 14-20 Baltimore, MD June 13-19 Boston, MA June 29-July 6 Sacramento, CA July 16-22 Sioux Falls, IA July 19-22 Milwaukee, WI Aug. 6-13 Chicago, IL Aug. 13-20 Toledo, OH Aug. 20-27 Cleveland, OH Aug. 27-Sept. 4 Detroit, MI Sept. 3-10 Buffalo, NY Sept. 10-17 Houston, TX Oct. 22-28

Transmission Update: In November 2011 the Defense Asset Management System (DAMS) moved from Alexandria, VA, to the Defense Media Activity (DMA) in Ft. Meade, MD. Moving this system resulted in new internet addresses for all the servers. Defense Visual Information (DVI) is aware of some issues when connecting to the DMA FTP and FFT servers as a result of this move. All connection attempts to the DAMS must use the domain name for that server. Use of the IP address will result in connection failure. Please use the following addresses: FTP: Rabbit.defenseimagery.mil FFT: Select the correct server and port for the client version used. Version 2.4 Port 923: jackrabbit1.defenseimagery.mil Version 2.4 Port 20: jackrabbit2.defenseimagery.mil:20 Version 2.6 Port 923: jackrabbit3.defenseimagery.mil FFT port 923 is working only from within the NIPRNET not on commercial networks. The DMA CIO is working this with DISA. For more information about FTP and FFT accounts please visit the Defense Imagery web site at defenseimagery.mil/learning/howto/ ftp.html, or contact the Operations Coordination Center (IOCC) staff at (703) 695-7118.

Desperately Seeking... 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. Shipboard Holiday Decorations Ships Decorated in port Mail Call for Christmas/Holiday at Sea Christmas Eve/At Sea – Religious Services New Years Eve/At Sea Mess Decks during Christmas Dinner Closing out the ship’s log for 2011 First Sunrise forward deployed Jan. 1st [e.g. Morning Colors] 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.

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AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

navymedia@navy.mil


What are QR Codes?

C

hances are, you’ve probably seen them around on everything from billboards to Starbucks cups. QR (or “quick response”) codes look and function much like retailer barcodes used to price and track inventory. However, QR codes are a bit more sophisticated than average barcodes. They are two-dimensional (2D) codes that contain information in alphanumeric form (whereas barcodes simply contain strings of numbers). People interact with QR codes by reading or scanning them with their mobile smartphone devices (such as an iPhone or Android), directing users to company websites or multimedia content, store data or contact information, call specified phone Photo by MC2text Eddie Harrison and numbers and/or send messages emails without the need for cumbersome URLs. The Navy is currently using QR codes on many posters and brochures. Get the Navy’s active QR code [pictured above] at navy.mil/view_single.asp?id=109681.

3 Benefits of Using a QR Code • Automatic Information Sharing QR codes provide direct access to a variety of types of information, from a URL that links to a single landing page, contact, or entire eBook. • Building Fans on Facebook Many QR code generators, such as Likify, allow you to create a QR code that links to a fully functioning Like button on your Facebook page. • Driving Traffic and Results QR codes can help you drive traffic to searchable content and increase engagement with such content. They also allow you to focus on a single goal, such as getting a user to like your Facebook page, follow you on Twitter, or view visual content on YouTube. Practical Applications A QR Code is a powerful communication and marketing tool. It is easy to create and maintain. Some recommended uses include: business cards, command brochures, posters, and signage, symposium and event name tags, videos and PSAs. The type of information you could link to include: photo and video collections, contact information, instructions and guidelines, locations and directions, social media pages, web sites, and inquiry and feedback forms.

by Lt. S h aw n E k l u n d

How Do I Get Started? Anyone can use a QR code generator to set up at QR Code. There are a number of free QR code generators. For simple QR codes try Kaywa. It can be used to create QR codes that link to a web page, text, phone numbers, or SMS. If you are looking for something advanced, Kerem Erkan allows you to customize the color and format of your codes. Some organizations have even gotten fancy by overlaying their logo or branding assets on QR codes, but this typically requires special skills and tools (but can help with adoption). Once your QR Code is properly established anyone with a QR code reader can view it. There are a variety of different device-specific QR code readers. A quick Google search can help you find one. For instance, i-nigma is popular with iPhone users and accommodates virtually any type of camera phone, while many Android users are using Barcode Scanner; there are several to choose from. Resources/References • mashable.com/2010/06/23/qr-codessmall-biz • aids.gov/using-new-media/tools/qrcode • socialmediaexaminer.com/how-qr-codescan-grow-your-business • instructionaldesignfusions.wordpress. com/2010/09/30/qr-codes-augmentedreality-and-learning-for-health • mashable.com/2009/12/07/google-qrcodes

LINKS to KNOW

Mobile App for the AP Style Guide on iPhone and Blackberry. iPhone App is compatible with iPad and iPod touch. BB devices must be running 4.2 and higher. www.apstylebook.com/mobile/

LightStalking.com Training Guides: • B&W Landscapes - How to Capture a Proper Tonal Range - bit.ly/gqS0RI • 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

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AMERICA’S NAVY: A GLOBAL FORCE FOR GOOD

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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 eightday time-lapse of the setup for the Carrier Classic basketball game, I wondered if I would be able to securely place equipment worth thousands of dollars in an area that also lent itself a good composition of the flight deck. Fortunately, the lower yardarm aboard USS Carl Vinson provided both a great view and an outlet to power the camera.

camera atop a Manfrotto joystick head. With the super clamp rated to hold up to 33 pounds, the swivel provided me with some elevation control while the joystick provided a level and fine adjustment. I taped all the moving parts I could find, 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

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navymedia@navy.mil


Navy Imagery Insider November-December 2011