Strategies for Effective Non-Profit Web Videos

7/30/2019 Strategies for Effective Non-Profit Web Videos

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he statistics regarding online video consump-tion are staggering. Over 800 million uniqueusers visit You ube and watch over 4 billionhours o video each month. In 2011, You-

ube had more than 1 trillion views. Every minute,72 hours o video are uploaded to You ube. And

users arent just watching videos; they are lik-ing them, commenting on them, and most

importantly, they are sharing them with oth-ers via social networking sites like Facebook

and witter. Video is rapidly becoming oneo the primary ways people get in orma-tion and communicate with one anotheronline. Tis represents both a hugeopportunity and a huge challenge ornonpro t organizations.

Video can be an extremely e ectiveway to get an organizations mes-sage to an enormous audience, butwith so much video content be-ing uploaded every day, nonpro tsace the challenge o making their

videos stand out. And getting view-ers to watch a video is only hal thebattle; the other hal is getting them

to take some action in response towhat theyve seen. Tat action could

be anything rom sharing the video ontheir Facebook page to volunteering their

time with the organization to making adonation.

Recent scholarship around non-pro t brand-ing suggests that video is one o the most pow-

er ul tools available to non-pro ts, i they know how to use it e ectively. Tis paper will examine

eight award-winning and viral non-pro t videos andidenti y the strategies these videos employ that have led

to their success.

by Tracy Empson

Strategies

for EffectiveNon-Proft Web Videos


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#1 Tell a Compelling StoryUnited States Holocaust Memorial Musem

Yes, Thats MyFather

Just days before their concentration campwas liberated, 14 year old Sol Finkelstein,

was separated from his father. He has lived

most of his life never knowing his fathers fate.In this video, Sol tells his story and his son, Jo-seph, explains how the World Memory Project,funded in part by the United States Holocaust

Memorial Museum, located records showing thatSols father survived and was liberated. The re-

cords indicated when his father died and the lo-cation of his grave. The most touching part of the

video comes when Joseph surprises Sol with some-thing else the World Memory Project located in

their search--a photographof his father. He has notseen a picture of his

father since beforethe war. Sol criesas he looks at the

picture and tellshis father thatin all the years

since they were

separated,he has never

left histhoughts.

hink back to your childhood. Did youhave a avorite book that you asked

your parents to read to you over and overagain until they got so sick o it that one day someonemisplaced it? Maybe you had a avorite movie thatyou watched so many times you knew all the wordsby heart? Beginning almost at birth, storytellingis deeply ingrained in us. We use narratives tohelp ourselves understand and make sense o the world around us. And weve been doing it

or thousands o years. It is in our DNA. Forthat reason, and so many others, the beststrategy or making an e ective non-pro t video is to tell a compelling story.Te story in Yes, Tats My Father is sopower ul, ew visuals are even neededto support it. Most o the video simply shows Sol and Joseph sitting side by sidetelling the story. elling an individualsstory allows viewers to put a ace to aparticular issue or cause. Most people

are well aware o the atrocities that Jew-ish people su ered during the Holocaustbut hearing Sols individual story helps viewers to orm a personal connec-tion and makes them more likely to take action a er watchingthe video. It is is much moredi cult to ignore a problemwhen you have seen a real, liv-ing, breathing person who hasbeen personally a ected. Andit makes it much easier to sup-port an organization when youhave seen someone whose li ehas been touched by that organi-zations work. And because story-telling a universal orm o humanconnection, viewers will be more likely to share a video that tells a story than onethat simply relates acts and gures.


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Watershed Management Group, Grampari

Its in Your Hands

Show, Dont Tell #2

Its in Your Hands documents the build-ing of a tippy tap--a primitive hand wash-ing station designed for use in developingcountries. The video starts with text over

images of scienti c lab equipment. The textreads In the ght against infectious disease,the most important weapons could be. Thevideo then goes on to show and list each of thesimple tools (soap, a nail, matches, a jug, andsticks) needed to construct a tippy tap and thenthe actual construction process. The video endswith on screen text explaining that 1,000 childrendie each day in India from diarrhea and that halfthose deaths could be prevent-ed by hand washing.

One o the advantages o lmand video over other mediumsis the ability to tell a visual story. Yes, you can,

and should, use words and sounds and musicin a video, but the visual images should take

center stage. Viewers will take away more i you show rather than tell. A great exampleo this strategy is the video Its in YourHands. Te statistics about in ectiousdisease in the developing world are both

rightening and heartbreaking. It is aproblem that seems di cult to addressbecause it is simply so huge. However,the solution is simple. Hand washingalone could save hundreds o thou-sands o lives each year. o commu-nicate this simple truth, Grampariand the Watershed ManagementGroup made a video that shows the

construction o a primitive handwashing station called a tippy tap.I the organizations simply told

people that hand washing wasthe key and tippy taps were the

solution, it would likely goin one ear and out the other.However, when viewers areable to see that the tippy tap can be built with just

a ew basic supplies andin a matter o minutes themessage really sticks. View-

ers are able to see with theirown eyes the simplicity o the

solution. As the saying goes,Seeing is believing.


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#3 Make Em Laugh...

American Jewish World Service

A Public ServiceAnnouncement Not

Approved by the AJWS

This public service announcement, directed by JuddApatow, is simple in its approach. People, some Jew-

ish, some not, sit in chairs in front of a white backdrop

and talk about the American Jewish World Servicescause and work. Sound boring? Well, theres a catch. Thepeople are comedians and interspersed among the hard

facts, theyre doing what they do best: telling jokes. Somecomedians poke fun at Jewish stereotypes. Last year,American Jewish World Service gave away more than

twenty-two million dollars in grants to 458 organizations inthirty-four different countries, explains Sarah Silverman. She

goes on to quip, That really throws a wrench in the Jews arecheap premise. Other comedians poke fun at themselves,

People often come up to me and theyll say, Hey Samberg!I didnt even know you were Jewish. And I say, Really? And

they go, No, not really. Look atyour gigantic face! And then

we just laugh and laugh.They even joke about the

AJWS itself. That nameis so bad, says JuliaLouis-Dreyfus, It feels

like a scam fromNigeria. Really. The

video wraps withthe comediansshouting words

many people as-sociate with theJewish relgion like

Mazel tov!and Sha-

lom!

One o the challenges o non-pro t video storytelling is avoiding apreachy or pedantic tone. Viewers do not

want to be lectured. Yes, many non-pro ts deal with very serious issues and causes like poverty and cli-mate change. But a video does not need to havea serious tone to success ully address a seriousissue. In act, there are several advantages tousing humor in a non-pro t web video. First,it is an extremely e ective way to hook view-

ers and engage them with the issue at hand.People might want to watch your video just because its unny but end up wantingto learn more about your organization orcause. Second, studies have proven thathumor aids memory. People are morelikely to remember something pre-sented with humor than something notpresented in a humorous way. Tird,i your video can make viewers laugh,they may be more likely to share it with

others, either via social media or wordo mouth. American Jewish World Ser- vice plays o o the stereotypical publicservice announcement to get theword out about their work. As inmany PSAs, actors and comedi-ans directly address the camerato explain the work that AJWScarries out. But, a whole videoo that might get a little bor-ing, so to spice things up, thecomedians also tell jokes. As viewers watch, they anticipatemore jokes, so they happily listen to and absorb the actualin ormation about AJWSs work as they wait or their next laugh.Te use o popular comedians (anddirector Judd Apatow) also helps draw in younger viewers, an audience AJWS mightnormally have di culty reaching with their message.


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#5 Be UnexpectedGet Up! Australia

Its Time

This video tells the love story of two peo-ple from rst meeting to marriage pro -

posal. It is shot in point of view style so theviewer only sees one of the people. We see

the couple at an amusement park and at the

beach with friends. They grocery shop and eatout together. We see them meet each others

families and watch as they move in together.They share both good times and bad, the joyand the sorrow. At the end of the video, whenthe young man gets down on one knee to pro-pose, the camera pulls back and

reveals that he is propos-ing to another man.

On screen text thenreads, Its time.

end marriagediscrimination.

W ith so many videos on the web,making a video that stands outand catches peoples attention can be a

challenge. elling a compelling story is a pow-er ul strategy. Its an even more power ul strategy when you take a amiliar narrative and turn iton its head. Many a lmmaker has earned hisame telling stories with a surprise twist. Parto the movie viewing experience is antici-pating what will happen next. We like the

eeling o correctly predicting the nextplot point. But we like it even more whensomething happens that we never saw coming. Luckily, you dont have to be aHollywood director to use this strategy.Predictable stories that weve all heardbe ore will put your viewers to sleep,but stories that surprise viewers willmake your video ar more memorable.Its ime by Get Up! Australia is abeauti ul example o this strategy in

action. Te video seems to be tellinga amiliar tale: boy meets girl, boy and girl all in love, boy proposesto girl. As we watch, we assumethat the person whose point o view we are watching rom isemale. A er all, thats the tradi-tional love story, right? Wrong.Te purpose o the video is toshow viewers that it is time tochange that amiliar narrativeand to accept love in all its orms.When the camera pulls back to revealthat the couple consists o two men, viewers are orced to con ront their as-sumption that the other person was emale. Itnot only surprises viewers, it rein orces the messageo the video.


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#7 Include a Call to ActionProtect Our Defenders

The Epidemic ofMilitary Rape

This video features several United Statesmilitary veterans who were victims of sexual

assault during their military service. Each onehad reported his or her assault but because of

a broken system, justice was not served in any oftheir cases. The video explains, in on-screen text,

that 19,000 sexual assaults take place in the mili-tary each year, but only 13.5% of those assaults arereported. The victims interviewed in the lm revealsome of the reasons so many assualts go unreport-ed. One of the main reasons is that commandingof cers are held accountable if a sexual assault oc -curs on their watch. As a result, when incidents arereported to them, they encourage

(or in some cases coerce)victims not to pursue

any charges. Thevideo mentions that

there is legislationcurrently pendingin Congress thatwould eliminatethis con ict ofinterest and cre-ate a new sys-tem for report-

ing sexualassaults in

the mili-tary.

One o the most important strate-gies or creating an e ectivenon-pro t video is to include a call to ac-

tion. I youve used any o the strategies weve already discussed, youve likely already got your viewersengaged and excited to support your organiza-tion. Tat is only hal the battle. Te other hal isturning that enthusiasm into concrete action.Tis video rom Protect Our De enders does just that. At the end o the video there are

three buttons that allow viewers to act onwhat theyve just seen. Te most promi-nent button says ake Action and whenclicked takes viewers to a petition to getCongress to pass the S OP Act. Tis pagealso contains a Contribute button thattakes visitors to a donation page. Teother two buttons that appear at the endo the video invite viewers to share the video on Facebook or witter. Whendeciding how to incorporate a call to

action, rst think o the primary goalo the video. Is it meant to rally supportor a speci c policy re orm or piece o legislation? I so, a link to a petitionor a orm letter viewers can sendto their congressmen might bean appropriate call. Or is your video primarily meant to raiseawareness? In that case, call-ing viewers to share the video via social media may be thebest route. Also consider yourtarget audience and what typeo call to action is most realisticor that audience. I , or example,you are targeting college students,calling or monetary donationsmight have disappointing results. Butthose same viewers might have hundredso Facebook riends or witter ollowers thatthey could share your video.


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DropTheWeapons.org (UK Metropolitan Police)

Choose A DifferentEnding

Think Outside theBox #8

This video campaign, an initiative of the UKMetropolitan Police, is unique in that it is achoose your own adventure style interactive.The video puts viewers in the shoes of a youngman in London. The story is broken down by eventand at the end of each event, the viewer is askedto make a choice that shapes the story and theoutcome. Choices include things like whether or notto carry a weapon, go to a party, or join in a ght.Viewers must then face the consequences of thosechoices. Many paths may lead the viewer to serveprison time. When the viewer reaches an undesirableoutcome, a link appears that allows viewers to startover and choose a different ending. The video high-lights what the laws are concerning violent crime and

makes viewers think twice aboutwhat they do in real life situ-ations.

O en, when people hear the phrasenon-pro t video, visions o bor-ing or cheesy PSAs fash be ore their eyes. Te

good news is that such PSAs are (or will be soonenough) a thing o the past. Creativity in this

arena abounds and the non-pro t web video isquickly becoming a genre in its own right. ocontinue engaging an audience with ever-evolving expectations or online media,non-pro t organizations must think outside the box and come up with reshapproaches or their web videos . Havinga great story will take you ar, but tellingthat story in a unique or novel way willattract even more viewers. Tough this video technically comes rom a govern-ment agency rather than a non-pro torganization, it is a great example o a video campaign that thinks outsidethe box. Everyone knows that kni e

violence is dangerous and very bad.Viewers dont want some stodgy police

o cer lecturing them on this issue.So how exactly are the police sup-

posed to engage people in think-ing about this important topicwithout getting tuned out? TeUK Metropolitan police chosea participatory approach thatallows people to discover orthemselves the consequenceso kni e violence. Tis novel

approach breathes new li e intoa tired issue. Te video has gar-

nered nearly a million views--aeat that a standard PSA on the is-

sue could probably never accomplish.Te story you tell may not be new, but i

you present it in a unique way, your chances o success will greatly improve.


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Documents

Strategies for Effective Non-Profit Web Videos