Werbung muss sein, das weiß ich auch. Doch leider wird für mich gerade vor Videos im redaktionellen Umfeld platzierte Werbung immer öfter zum Hassobjekt. Zwei Beispiele:
1.  SpiegelOnline berichtet in einer spannenden Multimedia-Reportage von der Grenze zwischen den USA und Mexiko. Kollegin Sandra Sperber produziert kurze Videos, die den Text ergänzen. Das ist die ideale Kombination aus Print und Video. Allerdings unterscheidet der SpOn-Player nicht zwischen allein stehenden Videos und Kombinationen aus Text und Video. In der Folge fangen auch die kurzen Videostücke mit lästiger Werbung an.

2. Noch deutlicher wird die Werbekeule bei kurzen Videos, die SpOn aus dem Netz zieht und auf der eigenen Seite einbindet. In der Rubrik „Kurioses“ gibt es einen Mann, der mit seinem Buggy die Hecke entfernen will. 20 Sekunden dauert das Video. Je nach Auswahl kann die Werbung deutlich länger dauern.

Diese Liste der Beispiel  ließe sich endlos fortsetzen, vor allem auch auf den Websites der Tageszeitungen, die meist mit dem Brightcove-Player arbeiten. Die Folge: Die Verknüpfung von Text und Video ist nicht zufriedenstellend machbar, weil die vorgeschaltete Videowerbung es verhindert. Dabei gibt es Untersuchungen zur Wirksamkeit und den Folgen dieser Art von Werbung. Adroit Digital kam 2014 in einer Studie zu diesem Ergebnis:

Max. 15 Sekunden sollte eine vorgeschaltete Werbung also nur dauern. Weiter heißt es dort, dass 56% der Befragten grundsätzlich wegklicken, wenn eine Werbung beginnt. Nur 20% geben an, dass sie die Werbung anschauen.

Diese Erhebung ist nicht die einzige auf dem Markt. Auch in Deutschland gibt es dazu seit vielen Jahren Daten. Fittkau&Maas fanden bereits 2008 in ihrer W3B-Studie heraus, dass „Werbespots bis 15 Sekunden“ Zustimmung finden. Die Werbewirtschaft scheint diese Erkenntnisse jedoch in den Wind zu schlagen. Doppelt so lange Werbung ist Alltag im Netz. Die Konsequenz ist dramatisch: Weder die Werbung, noch das eigentlich gesuchte (journalistische) Video wird am Ende konsumiert. Übrig bleiben nur Frustrierte, denn weder Werber, noch Journalist noch Konsument haben ihr Ziel erreicht.

 

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It is very interesting to observe that there are more and more voices who are questioning the evolution towards photo cameras for video filming. In my opinion this is a very important debate pending also to put pressure on manufacturers, but first to compare the DSLR movement with the classic camcorders. One very helpful piece for this debate is an article about the Sony PXW X200, published in Red Shark News. „For some, this is the ideal type of camera„, writes David Shapton. I would say, not only for some. I would like to have this camera but I would prefer even more a camera that finally combines the advantages of DSLR (compact, bigger chip) with those of camcorders (much better handling, better zooming and focus, much better audio connections and control, etc). Therefore in my opinion Sony did a big step ahead with the PXW X70 but unfortunately they failed with the lens and the lack of separated control rings for iris and focus. Personally I need a camera for lightweight traveling. The GH3 is brilliant for that but I hope to substitute it as soon as possible with an improved X70 or similar. Because for news and documentary camcorder are still the best for video journalists.

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Honestly I would not like to call it a „selfie“ standing in front of my camera doing a stand-upper. But it’s interesting job wise to compare selfie and stand-upper. The first influenced smart phone designs the second was always a challenge as a video journalist. I put monitors on top of my cameras to see what the picture looked like. I used my microphone to get the focus more or less right but it was never real fun. But WIFI-function in today’s cameras makes it much easier to do a stand-upper. The last one I did some weeks ago when I filmed a story on Spain’s new political party Podemos. At the end of it my station wanted me saying something. I looked for my favorite spot just at the puerta de Alcala in Madrid to have a nice background. Unfortunately light was challenging but at least framing and focusing were again quite easy.

I just use my old Ipad and connect it to the Lumix GH3 via WIFI. I am able to see the cameras pic and I am able to focus with Panasonic’s app Lumix Link. I even can start recording. Unfortunately zooming is not possible with my lenses neither stopping recording. But that’s nothing serious. The pros prevail. I highly recommend an Ipad instead of an Iphone. At least the Iphone 4GS is just to small to see if you are in or out of focus.

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I don´t have to mention again that I got a real fan of my Lumix GH3 and I almost substituted the bigger Sony EX3 with this tiny camera. But, yes, there are „buts“, the camera’s advantage showed to be also a big disadvantage. I filmed for a story on the IPO of Spain’s airport operator AENA. I was able to film at the apron of Madrid’s international airport Barajas and I took the chance to film one of these huge Antonov 124. I wanted to film some minutes to later speed up the clouds. Unfortunately a wind gust blew round the camera and tripod. This is the moment when it happened:

I was quite afraid that filming would have come to an end. But(!!!) thanks to the Honu Cage the camera was ok.

The only two things that suffered was the Rode Videomic and a magnetic frame. The plastic holder of the hotshoe broke and I have to get a spare part. And the frame for the LCDVF disappeared.

After that I am quite happy to have this Honu Cage always attached to my camera. It just saved my butt. And after that I will never again move away from my camera – especially under severe weather conditions.
The published story:

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My trip to Mexico revealed some issues with my wireless audio equipment. I wasn’t able any more to srew the Micon 1 connector to the Sennheiser ew100 G2 transmitter’s thread. That meant no more use of my Røde PinMic. And I had to do every single interview with my handmike. Worked out but limitted flexibility.

I travelled the first week of December 2014. The second week I sent transmitter and receiver via my dealer to Sennheiser. Though there were Christmas and new year in between I am still waiting to get back the Sennheiser stuff. Meanwhile I found out that the tiny Røde PinMic cable also had an issue. It was a call to the service center in Germany, I sent them the cable and after just a few days I got it back – new cable – for free! I wish Sennheiser would have had at least the speed to fix the problem as Røde did.

Just an update: Today (20.01.2015) I got my Sennheisers back. It took them just five weeks….

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