Showing posts with label Corporate Video. Show all posts
Showing posts with label Corporate Video. Show all posts

Tuesday, May 10, 2022

Zoom Presenter AV Tech Checks – Are you ready for your close-up?

Virtual events aren't going anywhere any time soon and as companies have shifted to a full-time remote workforce over the last two years, most people have figured out how to join and participate in virtual meetings. While most meetings don't require you to turn on your camera, which can save you from a bad hair day or even getting dressed for your work day, there are many occasions when you have to start your video and smile at the camera. So, when the time comes for you to turn on camera, unmute your mic and share your big presentation in a virtual meeting on Zoom or Teams or any virtual event platform, are you ready for your close up? 

As follow up to my last two posts, Build your own Micro Studio and Your Virtual Production Home Studio – There's No Place Like Home, this post shares a checklist my team and I created for our Zoom presenters to help prepare them for virtual stage. We usually schedule a day or more of tech checks with each our presenters before the virtual events that we produce. The tech checks usually take only 15-minutes depending on the level of knowledge and comfort our presenters have with Zoom.  


Zoom Presenter AV Tech Check List

 

Internet Connection

 Use Zoom app not web browser (keep app updated)
 VPN off (it consumes too much bandwidth)
 Wired Internet preferred vs. Wifi (tether to mobile as last resort)

 

Communications

 Zoom controls (video, audio, chat)
 Host will ask to unmute/turn on camera (Host can’t turn on their cameras and need to ask)
 Intercom for communication with production team behind the scenes

 

Clock

 Timer counting down amount of time to present (available for produced events)

 

Audio & Video

 Video - controls, on/off
 Audio – sound check, use computer audio, USB mic or built-in mic vs. telephone

 

Content

 Share content using Zoom share or with video capture card 
 Pin “slide” window to see any Zoom video full screen for your local view

 

Background

 Virtual or physical background

 

Lighting

 Natural or artificial lighting (even lighting)

 

Camera framing

 Camera angle and eye contact (head and shoulders in view with camera at eye line)




Sunday, February 13, 2022

Build your own Micro Studio

Over the last two years the rise in mini or “micro” studios around the world grew as the new economy of virtual meetings hit an all-time high. I don't mean micro-studio apartments, what I'm talking about is transforming small office spaces into a personal video production studio with enhanced audio and video technology that provide professional studio quality in a safe environment. 

As it's said, necessity is the mother of invention. COVID created challenges and opportunities for the video industry, and it forced us all to work differently and adapt, and regardless of what happened the need to communicate was our driving force and the show must go on. 

So, early in the pandemic my team and I created a series of micro studios within our regional headquarters by converting empty offices into small studio spaces we call micro studios. We did it by necessity, as we had to socially distance our studio presenters and talent since they couldn't be in the same space due to COVID restrictions. But in our micro studios, they could safely meet with each other over a video call from their own mini studios.

But why go to all the trouble of building your own micro studio if the built-in webcam and microphone on your laptop and just regular ambient light works fine for most meetings? 

Because production quality matters, and high-quality video content increases engagement. So, if you’re presenting important information, teaching a class, public speaking or if you're appearing on any virtual event or broadcast TV, and you want to stand out and look and sound the best you can, then this blog post is for you. 

As we built our micro studios, we tested a lot of different equipment and set ups and developed an affordable solution that we could replicate. We've successfully connected them to Zoom, Teams, WebEx, Vmix call, OBS, Restream, and many other virtual event platforms. Several of our regional leaders use our micro studios on a regular basis for their important board meetings and high-profile external events. I'd also add that we instituted and follow COVID workplace safety procedures to keep our staff and guests safe by wearing masks and disinfecting workspaces and equipment.

Here are the main components of our micro studios:

1. Computer - The Apple Mac mini M1 model 16 GB RAM, keyboard, mouse, is great if you’re using it primarily for virtual meetings and lighter streaming applications this model works great and runs, Zoom, Teams OBS, and all productivity apps with ease. 

2. Monitor - This is a real subjective choice, depending on what other work you do an inexpensive LCD monitor with HDMI inputs will work. We use the LG 29WN600-W 29" 21:9 UltraWide and the Acer B277 27" LED LCD Monitor.

3. Speakers The Yamaha NX-50 Premium Computer Speakers were recommended by my audio engineers for their great sound at an affordable price. They work well and sound great although for most applications we prefer the in-ear monitors for very conversational sessions. This helps avoid any sort of audio slap back that isn’t eliminated by the echo cancellation in the video call software. 

4. Webcam - Logitech Brio 4K Webcam is the industry standard to get HD quality and look really great on camera. There are plenty of other options for higher quality with DSLR‘s, Blackmagic Pocket cinema cameras, but the Brio is a workhorse for your business meetings and webinars. Logitech has the Logi Tune app you can download that controls the settings from the Brio like your zoom ratio, white balance, focus, brightness and contrast. Logitech Capture app is also a content creation tool you can use with your webcam.

5. Audio interface - We handle audio differently than regular meetings, which usually are fine with just an inexpensive USB headset or Bluetooth earbuds. We use professional studio sound equipment that includes an audio interface, an omnidirectional lavalier microphone and an in ear monitor. In the micro studios we use the Focusrite Scarlett Solo 2x2 USB Audio Interface, and for our travel audio kits we’ve developed for our senior leaders we use the Shure X2U XLR-to-USB Signal Adapter. Both devices have professional XLR inputs and headphone jacks to monitor your audio input and output and a USB port to connect to your computer. The Scarlet has quarter inch 6.35 mm (1⁄4 in) outs which helps integration with other professional audio equipment. 

6. Microphone & in ear monitor - While more inexpensive options are available, we go DPA all the way. We use the 4060 Series Miniature Omnidirectional lavalier microphones and DPA Microphones d:fine In-Ear Broadcast Headset. We use DPA microphones in studio and these amazing mics have withstood the rigors of space travel and exploring the sounds of Mars. More inexpensive options are available like the  Sennheiser XS Lav USB-C Lapel Mic or any of these USB Lavalier Microphones.

7. Lighting - Depending on the room and size of the space, we use a similar approach but have several different lighting instruments with both ring lights and soft light panels. We don't use three-point lighting in our micro studios since that would be too dramatic and overkill. The key is to have flat even lighting on your subject so that there are no shadows. Soft incident light helps create that look and a simple way to achieve this look is to bounce your lights off your office walls. You can also position your lights to avoid those round ring light circles or lighting reflections in glasses. We use a few different lights in our spaces, like the VL-200T Portable LED Video Ultra-Thin Dimmable Lighting Panel with the Neewer Mini Set of Two Aluminum Photography Back Light Stands. We also use the more expensive Litepanels Astra 6X Bi-Color LED Panels. For ring lights, we use the CLAR Luminous Pro 19" Bi-Color Ringlight Plus which has actually been discontinued, so a good alternative is the CLAR LF-Y500 Double Arm 3000-6500K LED Light or the VidPro RL-18 LED 18" Ring Light

8. Green screen - Using a green screen with your virtual backgrounds on Zoom calls will enhance your quality with a professional looking chroma key. We use the FUDESY Collapsible Chromakey Panel Green Screen-77 x74 Backdrop with great results.

There are so many other equipment options out there as the market shifted to remote work and home studios over the last two years. We've tried out many solutions and found this collection of products work best in our environment. I'll be sharing more detail on some of the individual components and devices in future posts.

I'd love to hear what technology and solutions you're using in your own micro studios. Let me know if you have any recommendations or what you're doing to get the best audio and video quality for your virtual events.

Monday, July 1, 2013

Check out my Google+ Hangout with Neil Davidson on, "The Core of a Successful Corporate Video"

Today, I had the pleasure of joining Neil Davidson, Founder and CEO at MyWebPresenters, in a Google+ Hangout to discuss, "The Core of a Successful Corporate Video", as part of his new Hangout series of talks with digital leaders. I was glad to join Neil's list Google+ Hangout guests, who've included: Conrad Weaver of Conjo StudiosTim Schmoyer of ReelSEOJustin Foster of Liveclicker, Tyrone Shum an expert on YouTube Video MarketingGideon Shalwick an online video marketing expert and Chris Savage of Wistia.

Google+ Hangouts have become a great way for people to "hang out" and have group video conversations and Google has added a lot of new features recently including: Remote Desktop, live rewind, and instant replay. The product has gained popularity over the last few years since its initial release in 2011 and relaunch as a standalone product at the Google i/o developers conference in May 2013. For more on the development of Google+ Hangouts and how it grew out of Google Talk, see this article: Exclusive: Inside Hangouts, Google's big fix for its messaging mess | The Verge.

I had a great conversation with Neil and you can see the topics we discussed in the interview questions below and watch our Google+ Hangout video for the full conversation.



Neil Davidson's interview questions:
  1. Larry - you must have seen (and made) a few corporate videos in your time; what would you say are the commonalities that all of the good ones share?
  2. How should a business go about fitting a video production into their marketing strategy? How can they decide what type of video to use and how to market it?
  3. Which businesses would you say are leading the way in using video as a marketing tool?
  4. I find that failures are normally good learning experiences. What is the biggest video failure you have had and what did you learn from the experience?
  5. What are the big opportunities that you see in the coming year for those using online video? Is it just more of YouTube or are there other good opportunities out there?
  6. What do you think of the short video format? i.e. Vine videos? Do you think that they will take off with businesses?
Watch all the Google+ Hangout interviews on Neil's YouTube channel at: Neil Davidson - YouTube.

Follow Neil Davidson (WEBPRESENTER) on Twitter.

Saturday, April 27, 2013

The Evolution of Enterprise Video Platforms (Infographic) and The Rise of Virtual Event Delivery

This infographic by Mediaplatform, an enterprise video platform, looks at the explosive growth in the use of video in the enterprise over the last decade. It started with voice-only teleconferencing, which naturally evolved into videoconferencing. Then, the need to extend to desktops  evolved into web conferencing, webcasts, online collaboration, virtual event delivery and telepresense. It grew out of necessity to expand beyond videoconferencing rooms and conference centers to reach all desktops and mobile devices, as well providing richer metrics on audience engagement.

The need to be connected everywhere, all the time, with access to information and your online contacts is still a new phenomenon within the backdrop of the analog age. We used to use a variety of physical media, such as, audio cassettes, VHS tapes, 35mm slides, and conduct all training and in-person. Production costs were high, satellite transmissions were expensive and editing was all done on film or tape. CD-ROMs and DVDs made things easier for a short time, with the ability to better organize our content into chapters. But as the Mediaplatform infographic shows, the Internet changed everything and gave us the ability to use video for live and archived productions and events at a fraction of the cost of analog video, powered by an industry of enterprise video platforms.
"By contrast, tools such as on-demand webcasting and online video portals now allow trainees to view video content from their own laptop, desktop, or even mobile devices. Employees can now collaborate on projects from remote locations with much greater ease and efficiency through the use of video conferencing and webcasting tools. With this all in mind, we thought it would be a fun exercise to develop an infographic highlighting the evolution of business video in the enterprise."
The Evolution of Enterprise Video Platforms [Infographic]
© 2013 MediaPlatform


What's Next?

Today, the integration real-time of business communication services with non-real-time messaging services make up the unified communications suite. But what's next for the enterprise? This article on the, One Market Media Blog - Google Glass, Lifecasting and the Future of Business Video, explores how augmented reality and wearable devices like Google Glass and Apple's iWatch will have a dramatic effect on business video and customer experiences.


Infographics Sources

Sunday, May 27, 2012

10 Tips for Producing Live Events

Over the last twenty years of producing live events I've learned a lot about how things can go right and wrong, and from good to bad, and from bad to worse. Most problems stem from the things that have fallen through the cracks. Forgotten tasks that didn't make it to a list or get delegated, and either creep up on you or blow up in your face. But you can avoid most problems with proper planning and clear communication. The best shows are the ones where everyone knows what to do and the show comes off without a hitch. Whether you are in studio or on location, the same rules apply if you want to be successful. I've worked on this post on and off over the past years adding a bits and pieces of what I've learned that's helped make my shows successful, and now present it as my ten tips for producing live events.

1) Know your client(s) - if you are the event producer you need to communicate directly with the main client. Most executives and professional speakers have handlers, communications staff who write their material maintain their messages, admin staff who directly support them and maintain their schedules and a variety of reporting staff, directors, managers, leads, you get the point. There are layers between you and the main client, who in the end, is whom you are working for. Whether you are planning the event logistics, identifying the technical requirements, working on content or estimating the budget - all things flow from the wants and needs of the main client. You can save your self a lot of work if you can get a meeting with the main client in advance and discuss staging, presentation style in advance. With all the handlers, you get a lot of filtered information and waste a lot of time getting through the layers.

2) Conduct a site survey - knowing your location is your best defense against failure. Not only are you able to assess the space for room dimensions, ceiling height, power needs, lighting, noise, Internet connections, access to loading dock, etc...  you also get to meet the people who manage the venue – and who will ultimately be the ones that support you and your production. Some venues will let you bring in all your own gear, without any buy-out fee – but some venues have exclusives on lighting and audio, and can even be within the jurisdiction of a local I.A.T.S.E. union, like Local 16 in San Francisco, and you'll be required to hire union labor. If you're a producer, it's best to work with a meeting planner who can deal with the hotel contract so you can focus on the AV and event production. But be sure to make friends with the venue, both the in-house AV and banquets staff. Don't forget that you're in their house and they are key partners in your success. The two most important aspects of your site survey are to gain intelligence and build relationships.

3) Have a plan - with every live event there are various templates that can be applied to the production. While each set up is distinct there are standards to follow when the space allows. Most live events takes place in an auditorium, conference room, convention center or ballroom. Video village, as it's called, or video control is back stage and is where the director, technical director, producer, engineer, graphics, projectionist and webcast or videoconference producer and that's the central nervous system of your equipment set up, signal flow and distribution, connectivity, interactive tools and lots and lots of cabling. Go into each set up with a game plan on how you will set up video village, where each station will be and what needs to connect to what.

4) Have an A-Team - it goes without saying that there's no "I" in team, and the best way to achieve your results is to be surrounded by people you trust, people who are professionals and experts in the field, and people you can rely onto do their jobs. With so many moving parts of your live event, you can't micro-manage, or keep track of every detail within each department. So that's where your team comes in to help you be those extra eyes and ears to catch any issues and ultimately get the job done right.

5) Stick to budget and deadlines - It's easy to go over budget when you start adding extra wireless microphones, Internet and power drops, cameras, and probably one of the biggest cost over-runs is not correctly estimating the amount of time it actually takes to produce your event. In most cases, labor can be your biggest cost, and if you don't account for overtime, and even double time, you run the risk of being way over budget. Having the proper staffing ratio is crucial to staying on time and budget. You need to have the right amont of labor to get the job done, and not either under or over staff. If you're producing a video webcast with a live audience, you'll have core costs that will cover equipment and labor.

6) Stick to the plan - Go into each show with a scripted game plan. Even a simple a simple agenda can be something that your crew follows, but a detailed run of show document that maps out the show flow is the best document to use. Your plan should also include set-up diagrams that shows signal flow; floor plans that shows they room layout and location of AV, cameras, lighting, catering; and, any other documents like webcast information, call sheets, production schedules and checklists for both the crew and clients to follow.

7) Plan a rehearsal - The more you know, the better the you do... and the best way to know is to practice. Aside from presenters being able practice clicking through their slides and getting comfortable with the environment, you need to know their transitions, cues for videos, music, camera angles and blocking, along with how the show will open and close. Will your presenters have walk-on music, on screen graphics, or need Internet access? Is there an announcer or VOG? How will Q&A be handled? It's best to have that all figured out in advance and rehearse with your presenters and crew. If time permits, try to gather the crew together for a show flow meeting, then go through a tech rehearsal with the crew, followed by rehearsals with each presenter. Beginnings, middle and ends, along with transitions, video rolls, lighting changes, and every audio and video cue should be rehearsed.

8) Avoid last minute changes - Last minute changes can be either highly disruptive or no harm at all. Fixing a typo on a slide or slight change to an element on stage usually won't upset the apple cart. But adding new content at the last minute, like a brand new slide show or video, should be avoided. Especially, if you don't get time to test or practice, that last minute change could blow up in your face, and make your presenters and clients look foolish. But be prepared for last minute changes and if there’s time  – update your script, rehearse if possible, but say, “No, we’re out of time” when you have to. Really, there’s nothing worse than a major on-air blunder.

9) Be prepared, and always have back up - As the Boy Scouts' motto says, "Be prepared." Not only for emergencies, but, "for any old thing." Live events are just that... they're live. Anything can happen. The presenter's wireless microphone could go out. You could lose power which could effect audio, lighting and the live feed. Make sure you have back up microphones and a reliable power source. If you have a lot of lighting, make sure you have a head electrician who can manage the power needs for all the lights so you don't trip a breaker or blow a circuit. For graphics, it's common to have a primary and back up computer to run your slides, and always wire the stage. You never know when a presenter will come with their own laptop and have videos they want to run, so having the cabling already set will save your


10) Roll with it - the old show business phrase, "the show must go on" applies here. Regardless of what happens, there is an audience out there waiting to be educated, informed or entertained, so you have to deliver. The that the fact that a live event is "live" makes it both easier and more difficult at the same time. There are no second takes. When something goes out live that shouldn't have, there are no take backs. So, when you're live you have to roll with it. That means when presenters are late or go off script, or when there's equipment failure, or a crew member calls in sick, or any unplanned situation you have to roll with it. When you're video recording, you can always "fix it in post." But the key is to keep a cool head, don't let them see you sweat and be a leader.

1st draft - 6/22/08
Final draft - 5/27/2012


Update 6/9/12: I forgot to mention how important it is to feed your crew. Bring snacks and plenty of water to keep their energy up, and be sure to budget crew meals on those long production days. That's the best way to keep them happy and on their toes.

Sunday, May 13, 2012

Videoconferencing Best Practices: Designing Graphics For Effective Use in a Videoconference

It's often a challenge for presenters to design graphics effectively for use in a videoconference. Many presenters overdo it on slides and tend to cram as much information as they can on each slide, rather than follow the "less is more" approach. I've seen a lot good, bad and ugly graphics in my time, and this post focuses on tips for creating more compelling graphics for videoconferences. This post is also a follow up to a series of articles on Videoconferencing Best Practices, which includes: 12 Tips for Moderating a Panel Discussion10 Verbal and Nonverbal Communication Tips and 7 Presentation Tips for Speakers

Graphics work well in support of your message, but be careful you don’t become too dependent on the slides. Your audience should only see slides about 10% of the time you are speaking. If your audience is watching on a single screen, think of the how the 6:00 o’clock news is paced, and alternate between speaking, graphics, video and then back to speaking. No segment lasts very long – use this as your role model. The ideal ways to show slides are directly from the computer, and most all videoconference rooms have a PC connection for both in room and remote presentations.

For broadcasts, meetings and instruction the same rules apply when you prepare your slides.
  • Keep things simple and concise
  • Use a horizontal format
  • Use a large sans serif typeface (Arial Bold)
  • No less than 30 point size fonts
  • Follow the 6 by 6 rule (6 words per line, 6 lines per page)
  • Leave border room around the edges
  • Fill the screen with the image
  • Use simple graphs, illustrations, scanned images
  • Use restraint with colors, high contrast works best
  • Avoid transparencies and small type written pages
The take home message is that presentation materials need to be as clear and concise as possible. Unlike meetings or instruction, a broadcast is not two-way, so you can’t get instant feedback from the viewing sites on visual clarity.

The rules for producing successful computer graphic designs for video are the opposite of desktop publishing. Choices in text, color, and design varies between the two because they are very different mediums and different rules apply. Graphics for use on television should conform to broadcast guidelines.

Sans serif typefaces (Helvetica, Arial) are more legible than serif typefaces because of their clean letterforms. They are used where quick legibility is vital (street and highway signs), or to catch one's attention with short bursts of type (newspaper headlines). Serif typefaces (Times, Garamond) tend to be more readable for large amounts of text on paper. However, they are ineffective to use as text on the video screen.

The most basic rules for preparing presentation materials are to Keep It Short and Simple, and Keep It Large and Legible. The following tips should provide you with a basic set of graphic guidelines.

1. Keep primary text in the center
Although "dead center" is usually an area to avoid in print media, viewers are used to watching video this way. Don't crowd the screen, instead use several screens to focus attention. Use a horizontal page format, and use six words per line and six lines per screen {Rule of Six}. (Figure 1)

2. Work within the STA (Safe Titling Area)
The STA is the cut off area for all screen images.The screen size between computers and TV monitors is not equal, and things can be cut off if they get to close to the edges. Leave at least a one inch border of empty space around each side of the page to be safe. (Figure 2)
3. Avoid thin horizontal lines, single dots, busy patterns and finely detailed grids
Always use 2 Pt. lines or larger, thin lines just don't cut it. Lines need to be thick and bold or they will flicker. Like thin lines, fine grids, patterns and dots cause flickering and picture distortion also. Avoid shading on printed hard copy because it creates buzzing patterns on camera. Supply details verbally, making charts and graphs simple (Figure 3) . Also, use clip art and flow charts sparingly, remember less is more.


4. Avoid highly saturated colors
Chroma crawl can be seen when two neighboring colors (text and background) bleed into each other. . The more saturated your colors are the more chroma crawl is added to the image. Don't overdo your use of color.
AVOID USING RED or GREEN FOR TEXT

5. Make text large and legible

  • Use 30 Pt. for body text, and 40 - 48 Pt. for titles.
  • Use no more than two typefaces per presentation
  • Use drop shadows to add depth to text, drop shadows help separate text from the background (Figure 1)
  • DON'T USE ALL CAPS FOR BODY TEXT, IT'S TOO HARD TO READ!! (Figure 2)












Do's

  • Keep text large and legible by using 30 pt for body text, 30-45 pt for subtitles and 40-48 pt for titles
  • 48 pt serif title: Times Bold
  • 30 pt sans serif-body text: Helvetica Bold
  • Use sans serif typeface for body text and serif typeface for titles (the opposite of desktop publishing)
  • Use no more than two fonts and only one background per presentation
  • Use white text on a dark blue to black background, this works the best readability from across the room
  • Use drop shadows to add depth to text, drop shadows help separate text from the background
  • Use a Truetype font like Monotype Sorts as bullets, it's more expressive than Option-8 (•)

Dont's

  • Don't use Script fonts, they are too fancy for presentations
  • ONCE AGAIN, DON'T USE ALL CAPS IT'S TOO HARD TO READ!!
  • All caps works only for TITLES, but not recommended

Wednesday, October 13, 2010

Videoconferencing Legend: A Tribute to Bob Bodine

Great leaders are known for their vision, and it's more than just an impression that they leave – it's inspiration. I worked for one of the greats early in my career as a video professional in the health care industry – a man who was respected and admired for his vision, drive and ability to achieve exceptional results. As Director of Audio Visual Services for Kaiser Permanente for 28 years, Bob Bodine avoided the spotlight and led a small corporate AV department while quietly building one of the largest corporate videoconferencing networks of its time. Bob died on April 7, 1998 after many years of heart disease, and while he was impaired with physical limitations, that didn't stop him from realizing his vision – to connect the many people of his organization through videoconferencing technology.

He was your old school type of boss who would greet clients that arrived in the department, and get to know what they were doing and how his department supported their goals. He made the rounds visiting the sub-departments and checking in with his staff. He had that "big tent" theory and offered a boutique of audio visual services to a wealth of internal clients, from doctors, nurses, front line staff, managers, leaders an the office of the CEO. This was pre-IT days, mid 1980s, dumb terminals, no mobile devices, email was all ASCII text-based. Custom applications were built on Hypercard, DBase IV, and the Video Toaster was the state of the art, and printing and file sharing was done over Appletalk. My first job working for Bob was to duplicate and distribute VHS videotapes and audio cassettes, but within a year he moved me into the new and growing sub-department called teleconferencing.

Bob worked the system by bringing the the right people in right places together, to share his early vision of bringing videoconferencing to our organization to help save travel time of our busy doctors. He recognized early on, that physicians, management and staff, and leadership could meet virtually using video technology to see and hear each other and share documents, slides, videos and also bring a higher production value to the medium with studio produced medical education programming. He blazed the trail making deals with vendors of all shapes and sizes to create the specialized rooms and environments, which for the most part didn't exist in the early 1990's. There were no off-the-shelf solutions, like there are today with Cisco's new Å«mi home telepresence system, so Bob built his own. In some respect, he carried on a legacy that was started by Henry Kaiser, the builder and founder of the company he worked for, and actually I still work for today.

Bob also saw the value of bringing videoconferencing technology to the medical practice and medical education, and was an early pioneer in Telemedicine, sponsoring projects for Tele-psychiatry, Tele-dermatology and Tele-Home Health. He was recognized by Teleconference magazine as a driving force in Telemedicine, and in 1995, he was inducted into the Teleconference magazine Hall of Fame in Stillwater, Oklahoma.

At that time, Patrick Portway, President of Applied Business teleCommunications, noted that if someone were to write a book on how agents of change can effectively introduce new technology into a large organization, Bob  Bodine would be an ideal case study.

Portway said:
"Bodine is the classic example of what Dick Jackson of Aetna Life and Casuality used to call the shoehorn in an organization (the guy or gal who made the technology fit the organization). That champion of videoconferencing does everything from initially proposing the technology to procuring the systems to developing applications and internally marketing the capability to users in the organization."
Times have changed since then, and departments like IT, Procurement & Supply and National Facilities Services are now responsible for technology infrastructure, planning and design, supply chain management and contracting. Projects are now funded much differently than in the past, and go through a rigorous approval process for the specific business case. What has also changed is the dramatic increase in the use of video within organizations, through videoconferencing, TelePresence, webinars, online and mobile videos, and high definition.

As I was writing this post, a client of mine, who hosts quarterly educational sessions for our medical coders, sent me a note that affirmed her belief in the importance of videoconferences and webinars. She shared an article about the rescued Chilean miners, who praised the doctors and psychologists that aided them via a videoconferencing connection throughout the 69 days they were trapped inside the mine. The miners were able to communicate with their families as well, which was even more important to them.

Rescued miner Mario Sepulveda said that seeing their faces and hearing their voices gave them the will to survive:
"They gave us our lives back. It's incredible that with 700 meters between us, and not seeing us face-to-face, they revived us."
Videoconferencing has helped shape the way we communicate, by bridging the distance between the many miles that separate us. I feel fortunate to have worked for Bob Bodine, who was a great leader, mentor, and in my book, a videoconferencing legend. I'm proud to say that in my own way I'm carrying on Bob's legacy.

Soon after Bob passed away in 1998, I built a tribute page to him is out there somewhere on the Interwebs. I've included that text of that page below, so that it can now have a new home here on Klessblog.




"I am an idealist. I don't know where I'm going, but I'm on my way."
- Carl Sandburg

Bob Bodine was an idealist.

In 1970, Bob saw a department where there was only he.

In the following 28 years as Director of Audio-Visual Services at Kaiser Permanente in Northern California, Bob often envisioned highways where there were only fields.

He saw televisions and cameras tucked into conference rooms, through which people would see and talk to each other.

Between buildings. Across cities. Throughout a country.

He saw instructors and students, separated by miles, but connected through technology.

He saw medicine being practiced in our hospitals, but delivered to our homes.

He saw a vast organization; without borders, united in culture, whose names came with faces, regardless of distance.

And he saw in us, his staff, the potential we did not always see in ourselves.

Bob Bodine left us much. A legacy to protect. A dream to pursue. And the spirit with which to do it all.

Kelly Miller
April 1998




Date: 28 Apr 1998 11:00:02 -0700
From: Larry Kless
To: larry.kless@earthlink.net (Return requested)
Subject: Bob Bodine


Kaiser Permanente/Stat

Bob Bodine, Kaiser Permanente's video visionary, dies at 62

FOR 28 YEARS, Bob Bodine ran his department, California MultiMedia Communications, as if it was the neighborhood grocery store. He believed in long term relationships, treating his staff like family and putting the customer first. He told his staff, "Never say no, to a client. Even if we can't do a particular job, we'll broker it to make sure our customer gets what they need."

Bob loved to innovate. The words "leader"and "visionary" are overused today. Bob was the real thing. Bob brought videoconferencing to Kaiser Permanente, saving the company millions in travel expenses and improving communication among staff. He started with no budget, no resources and no support from leadership, and finished with one of the largest corporate videoconference systems in the US.

Once videoconferencing was in place, Bob was anxious to find other applications for the system beyond business meetings. Since his days at the radio and TV station at the University of Wisconsin in Madison, Bob wanted to get back to distance learning. Through an innovation grant and a partnership with the Nursing Department, Bob realized his dream.

Today nurses at Kaiser Permanente facilities can earn advanced degrees from state and private universities over the videoconferencing network. Distance learning has added other courses like engineering, statistics and Spanish medical terminology to enhance the careers of our staff and improve service to members.

Bob was instrumental in introducing telemedicine to Kaiser Permanente. Again with no budget and few resources he supported the research and development of this new technology. He was proud to work with the Home Health nurses in Sacramento and the Psychiatric Department staff in San Rafael to improve access and service to Kaiser members.

Bob had many more accomplishments and projects we can point to, in health education, internal communication and physician education, but he will be most remembered for who he was. A generous man who many sought out for his good counsel and friendship. An optimist who could find the good and the opportunities in any kind of adversity. An innovator who was never satisfied with the status quo. A loyal friend and boss who valued and nurtured his staff.

Bob is gone but his legacy will live on in the department he created and the people who continue to carry his values of innovation, service and integrity.

By Toni Casal




What follows is an obituary on Bob Bodine published in the Contra Costa (Calif.) Times on April 12, 1998:

Bob Bodine gained strength from illnesses

Born: May 19, 1936, in Michigan City, Ind.
Died: April 7, 1998, in San Francisco

Survivors: His wife of 39 years, Mary Bodine of Antioch; a daughter, Suzanne Lescure of Danville; three sons, William Bodine of Concord, Michael Bodine of Lake Shastina, and Edward Bodine of Antioch; four grandchildren; and many cousins.

Services: A memorial service was held at Christ the King Catholic Church, in Pleasant Hill.
Memorial gifts: American Heart Association, P.O. Box 5157, Oakland, CA 94605; or Salvation Army, P.O. Box 340, Concord, CA 94520.


By Joan Morris

TIMES STAFF WRITER

Several times in Bob Bodine's life, death had come calling for his family and for himself.

When he was just a boy, both of his parents died after suffering heart attacks. Michael Bodine died at age 52. Nejla Bodine was only 42. Twenty years after her death, Bob's older and only brother, Ed, also suffered a heart attack and died. He was 42.

Bob knew what the odds were, says his father-in-law, Mac McGuigan. But he never let that get in his way of living.

"He was destined to have a very complicated life that involved sickness and sorrow, but filled with kindness, warmth," Mac says. "One would never hear of any illness from Bob."

When Bob was just 6, he contracted polio. Doctors ordered complete bed rest, but then he met Sister Kenny, a nun at the local parish. She believed in exercise, working the muscles that polio ravaged. The nun turned out to be Bob's saving grace. Although the polio damaged his legs, he survived and grew stronger. It was a strength he would need to face what lay ahead.

Bob was 10 when his parents died, and his brother was 20. Ed joined the military and Bob went to live with his mother's sister. The family already had five children Chuck, Sylvia, Larice, Betty and Margaret but they welcomed him as the newest and youngest member, calling him Bo because he had so many other cousins and uncles named Bob.

Bob was happy in his new home. His aunt and uncle encouraged his interest in music. He learned to play several instruments, from clarinet to trombone. He played in a dance band and with the University of Wisconsin band. In 1957, while still a student at the university, Bob met a beautiful young woman named Mary McGuigan. They fell in love and married two years later.

When Bob graduated, he went to work for WHA, a radio station in Madison, Wis. But Mary missed her family in California. Bob used to say he decided to move to California to please Mary and to get away from tornadoes.

Times were hard at first. Bob didn't have a job when the couple first moved to the Bay Area, but they made do. Bob taught music and sold insurance before landing a job with Kaiser Permanente in 1970.

Kaiser was creating a new audio-visual department and Bob was excited at the potential. At first, the department filmed promotional pieces and made medical-education videos, but Bob expanded the vision to include teleconferencing.

His co-workers said Bob was a pioneer in the new technology, introducing Kaiser and other businesses to teleconferencing, using technology to link several people at several locations, providing direct and instantaneous communication. Under his direction, Kaiser implemented a program that brought doctors together to discuss patient treatments, managers to talk about policies, and researchers to discuss findings, without leaving their hospitals, offices and labs.

In an odd way, Bob owed part of his life to his brother's death. Bob had always feared flying. During college, the band would occasionally fly to out-of-state games and performances. Bob would go to the airport, but he never could bring himself to get on a plane.

When Ed died in 1968, Bob had to fly to Florida for the funeral. Knowing he needed to be there for his brother, Bob forced himself to board a plane and fly across the country. His fears vanished and Bob soon became a frequent flier as Kaiser sent him all over the country to set up teleconferencing programs at other hospitals.

Ed's death also made Bob more cautious about his own health. Bob was very happy with his family, job and many friends. He had joined a U.S. and Canadian cribbage group and was eventually ranked 98th in the country. Friends described him as fun-loving, always ready with a joke, caring of others. Inside, though, he was facing a crisis.

In 1978, Bob turned 42 - the age when his mother and brother had died. Worse yet, he was starting to have heart problems.

Although bypass surgery was still in the pioneering stages, Bob agreed to the operation. Later, he would say it gave him a new lease on life. His family treasures a newspaper article written two decades ago about "new" medical miracles, including bypass surgery. The photo with the story shows a grinning Bob, his arms spread wide.

The operation bought Bob 17 more years. In 1995, at age 57, he underwent a second, even riskier bypass. It, too, was successful, but Bob's general health slowly began to decline. The 30-mile drive between his home in Antioch and his job in Oakland grew more tiring. And complications from his polio resurfaced, making it difficult for him to get around.

He fell often, Mac says, but he always rejected any help. If you asked how he was doing, Mac says, he'd tell you he was doing great.

But one day he fell on a concrete step and broke his hip, requiring surgery.

"His mobility was severely impaired," Mac says, "but he never complained. He just dealt with it." Shortly after the surgery, Bob's heart problems reappeared. He was hospitalized, first in Oakland, then in San Jose and finally to the UC Medical Center in San Francisco. On March 17, Bob's name was entered on the heart transplant waiting list. Doctors were forced to place him on an artificial-heart machine as they waited for a donor.

"It was very distressing to see this remarkable individual, lying in UCSF, unable to talk and barely able to respond at times," Mac says. "He was not expected to live on so many occasions, but he'd rally, to the surprise of his doctors."

Three weeks later, Bob died. His family was with him at the end.

"We will miss him tremendously, but we are grateful for his company and for his unflagging enthusiasm," Mac says, "even if for too short a time. We thank him for his part in trying to make the world a better place."

Tuesday, September 14, 2010

Announcing the Strategic Video Awards

The 2010 Strategic Video Awards is a new video awards program, created by Arizona-based marketing agency McMurry’s Center for Professional Excellence, to showcase videos that serve a strategic purpose, judging them not on their technical merits but rather on their ability to move their intended audience in a particular direction. Of course, technical competence in scripting, shooting and editing video helps, but big budgets aren't necessarily needed to get your message across in a strategic and compelling way. With the proliferation of employee generated video created with Flip camera, viewers are more forgiving of production quality. Short interviews or video messages using low cost video tools can be more powerful than a polished PR agency production.

The Strategic Video awards will emphasize overall effectiveness of persuasive power and not judge entrants on lighting, sound and script, but will focus on categories like, leadership communication, employee engagement and organizational history. I've been invited to be a judge for this inaugural video competition, and I'm pleased to present a short interview I did with David Murray, the Strategic Video Awards Program Director, to give some background on the video awards program.



Larry Kless: What started Strategic video awards? Did it grow out of a initiative? How did the idea evolve into what it is today?

David Murray: At McMurry’s Center for Professional Excellence we look for areas of communication that aren’t given their full measure of recognition by big association awards programs. For instance, we have the Cicero Speechwriting Awards, for excellence in speechwriting. We give Magnum Opus Awards to writers, editors and designers who create everything from great articles to great headlines and photo captions.

With video becoming such a huge part of modern communication strategies, it seemed natural to us to create a separate awards program for great video communications.

But what’s most important about the Strategic Video Awards is that they offer a place for communicators who are using video for strategic purposes. As we say on the website, “No matter what the entry category, the only questions our judges ask are: Is it absorbing? Is it persuasive? And most importantly: Did it work?”

LK: Why video? What makes it so compelling and why should businesses use it? Why is the hottest communication medium?

David Murray: You’ll probably have more reasons than we will, Larry. Obviously the technology—from the cameras to streaming ability—has made the making and distributing of videos infinitely easier and cheaper.

This ease of use has changed the very nature of video communications, and made it more spontaneous and ultimately, valuable. The videos that resulted from thousands of corporate dollars and days and weeks and months of production were often too slick by half, and their themes were out of date.

The videos that are produced now are now—they’re authentic, they’re human and they communicate. Which is more than we can say about a lot of corporate communication media, eh?

LK: Isn't making videos too expensive and out of reach for most companies? Where do they start?

David Murray: If I were a communicator, I’d start by getting myself a Flip camera and experimenting with making simple, short videos at home, and around the office. Wait, I am a communicator, and that’s exactly what I have done. And I’ve made some really good stuff.

Eventually, your video storytelling ability grows, and you find you want more and better tools. But by that time, you’ve shown yourself and others what an added dimension video provides, and the budget money’s magically available.

LK: Now, specifically about the competition... Can you describe the submissions process?

David Murray: Submission is as simple as we could make it. Go to the website, type in the URL to your video, select a category and write us a brief description of what the video set out to accomplish, and what you think it did achieve. It’s $149 per entry. That’s it.

https://www.strategicvideoawards.com/EntryForm.php

LK: Who the heck are the judges?

David Murray: We recruited 13 people with lots of experience using video to communicate. Identifying them wasn’t really very easy, because heretofore the video world was: communications people ... and video people. No more. All these judges represent the new video communicator, and they’re excited to see the entries.

LK: What do the award winners win?

David Murray: Virtual Winners Kit, which includes all the tools you need to promote your win
(press release, logos, etc.)
Inclusion in a special Strategic Video Awards highlight issue of the widely read ContentWise
A certificate, ready for framing

LK: Can you talk a little about the Center for Professional Excellence?

David Murray: This is a division of the custom publisher McMurry, CPE offers professional development to people ranging from corporate communication executives to copyeditors, business managers to administrative assistants.

The entry deadline is October 15, 2010.
For more information, visit the website: Strategic Video Awards

Sunday, July 18, 2010

Business Video Market Continues to Grow Despite Recession

At Streaming Media East 2010, I spoke with Steve Vonder Haar, Research Director and Founder, Interactive Media Strategies to talk about the state of online video, growth trends and forecasts for the future, and the great evolution in the overall marketplace over the last years he has attended the Streaming Media conferences. Interactive Media Strategies is a research and consulting firm that focuses primarily on video for business communications.

Vonder Haar outlined the massive changes he's seen over the last several years in how companies are deploying video technology. Today, many companies already use video to make employee training and All Hands meetings more engaging. Historically, it's been large companies deploying on-premise solutions that were managed internally by IT departments. The focus was mainly on infrastructure and not the interactive experience. Content delivery networks enabled reliable playback of video, and became more affordable over time.

But with the rise of hosted video solutions, small and medium sized businesses (SMBs) found it even easier to deploy video applications, through the robust and scalable SaaS (Software-as-a-Service) offerings of online video platform providers. This has helped fuel the growth of online video communications — with a trend toward moving from internal communications behind the corporate firewall to outward bound audiences.



Vonder Haar cited data from a related article he wrote, Business Video Market Expands, Unfazed by Recession, to comment on the continued expansion of online video business communications. He noted that the so-called “Great Recession” put a crimp in online video spending, which in 2008 was $460 million.
"Despite the dampening effects of recessionary pressures on technology investment for the past 18 months, spending on business video equipment and services expanded at a 15 percent rate in 2009, reaching $531 million for the year. The market totals are highlighted in our new Interactive Media Strategies report that measures the size of corporate spending on technologies that enable the development, management and distribution of online video for business communications applications."
But online video spending is now back on track in terms of pre-Recession growth rates exceeding 20 percent on an annual basis, as Vonder Haar explained:
"A rebound in growth rates to pre-2009 levels appears to be already in the works. Based on results from a survey of more than 1,000 corporate executives and on-going anecdotal evidence collected in on-going interviews with industry vendors and corporate end-users familiar with the enterprise video market, Interactive Media Strategies projects that growth rates for online video technologies in the corporate sector will rebound in 2010. This year, the market for online business video tools and services will reach $657 million — an increase of 24 percent over 2009 spending levels."
Vonder Haar suggested that the opportunity for SMBs to join the video revolution has never been greater. The emergence of hosted solutions has opened the door to a wider range of companies to deploy online video not only for internal communications, but for external communications and marketing as well. That, he said, is going to drive significant growth over the long haul.


About Steve Vonder Haar
Steve Vonder Haar is Research Director and Founder of Interactive Media Strategies and is responsible for the firm’s coverage of the enterprise Web Communications sector. Major topics and key areas of focus include online multimedia, Web Conferencing and rich-media conferencing. He is a frequent speaker and moderator of industry conferences and events, and has participated in more than 50 webcasts and web seminars on behalf of clients of the firm since founding the company in 2002.

Contact Steve at svonder@interactivemediastrategies.com or (817) 860-5121
For more information, visit http://www.interactivemediastrategies.com/

Also, visit their two newest Channels produced in conjunction with TMC at the links below.
Online Video Platform Solutions Channel
Video Content Management Systems Channel

Saturday, May 29, 2010

Jeffrey Hayzlett, Kodak CMO at Streaming Media East 2010, "How Video and Social Media Helped Kodak Get Its Mojo Back"

I caught up Jeffrey Hayzlett, two weeks before his departure as Eastman Kodak Company's energetic and boisterous, celebrity CMO (Chief Marketing Officer), at Streaming Media East 2010, where gave an opening keynote address. He discussed Kodak's innovation in video with it's popular pocket cameras and why companies should engage in social media and video. In his role at Kodak, he helped Eastman Kodak Company get its mojo back by using streaming media, video technology and emotional technology to connect with its customers. Hayzlett had joined Kodak in 2006 and has ran all their marketing efforts since 2009. He launched a social media team with the roles of Chief Listener and Chief Blogger, and also landed the company a starring role on NBC's Celebrity Apprentice.

Hayzlett says that in today's media landscape, it's vitally important to be where your customers are and that's why Kodak has immersed itself in social media - to engage in a two-way conversation with customers. Kodak's social media activity includes a Facebook page, four blogs, free podcasts on iTunes, videos on YouTube ad Kodak.com and very active participation on Twitter. The company turned to the wisdom of the crowd for a Twitter contest to help name their latest pocket video camera, the new PlaySport. Kodak has produced two guides with Social Media Tips and Mobile Marketing Tips to share their experiences of how social media helped grow their business, available for free at kodak.com/go/followus.



Hayzlett kicked off Streaming Media East a few weeks ago, with a spirited presentation on how social media has redefined Kodak's tactics of product development and customer engagement, and built communities around their brand. It's no longer just eyeballs and ears, but now it's the hearts and minds.

Hayzlett says:
"These conversation go on with you or without you. So you want to engage, educate, excite people and they become evangelists, or Kodak ambassadors is what we call them. That's what we call the "4 E's" So, it's very important for businesses or individuals, but especially for businesses to get out there and engage with their communities."

How do companies get started in social media?

In their Social Media Tips guide, Kodak advises that before you jump in think about some basic questions:
  • Why do I want to participate in social media?
  • How can social media improve my business?
  • How will social media be incorporated into my overall customer experience?
A checklist of social network profiles should include Facebook, Twitter, YouTube. Download TweetDeck and Seesmic to monitor your social media streams, listen and add value to the conversations that are going on. Kodak believes that on some some level all companies are publishers. "Content Creation, Distribution, Engagement, and Measures should be key areas of focus."

Why Video?

According to Hayzlett:
"If I picture is worth a thousand words, then video is worth ten thousand words... People are very visual in terms of their activity, so they want to see things, and when they can see with their own eyes as they say, they believe it more. So we think video is a big important part of that."
Coincidentally, this interview was recorded with a Kodak Zi8 pocket video camera that has a built-in microphone jack, which the idea as Hayzlett points out, also came from Twitter:
"For the older Zi6, which lacked a microphone jack, we saw a Tweet that said we should add it.We did add it and the product is outselling the competition 10:1, and the competitor's newer product is lacking the microphone jack."
Hayzlett says that capturing that rare "Kodak Moment" and "Keep it Forever" is as simple push of the button. It doesn't have to be a Hollywood production either, as he emphasizes, you can make mistakes and start over. Nobody cares, just get the content out there, that's the most important thing. Hayzlett says that you'll see more and more technology shoved into the Kodak pocket cameras.

Two days after my interview with him at Streaming Media East, he announced his resignation as Kodak's CMO, on May 14th 2010 , to pursue personal projects. His new book, "Mirror Test: Is Your Business Really Breathing," is climbing the best seller list and is demanding more and more of his time along with a packed speaking event schedule. He's working on a second book with "Mirror Test" co-author Tim Eber, and headed next to New York City, to start his next chapter.

He had this to say about leaving Kodak:
"Everybody knows I've been on borrowed time. The average tenure of a CMO is 18 months. It's because of my love of Kodak I've stayed as long as I have. We have our mojo back. We've certainly raised the profile of the company."
Yesterday was his last day at Kodak, and he wrote this on Twitter:
Ever had one of those days when you are sad but happy at the same time? Got one today. :)

Look for him sometime soon on television, or join his army of Twitter followers at @JeffreyHayzlett or at http://hayzlett.com/

Congratulations Jeffrey Hayzlett!

Related:
Update 6/4/2010: See Jeffrey Hayzlett’s last on-camera interview before announcing his departure from Kodak at Streaming Media East - Marketers Are Like Farmers - ScribeMedia.org