Can Millennials Afford Homes in the U.S.?

Image Source: Tierra Mallorca on Unsplash

Millennials are a generation of people born between the years 1981 and 1996. They are currently between the ages of 26 and 41. As of 2019, there are approximately 71.2 Million Millennials in the United States, making up 22% of the population, serving as the largest generation in the U.S. to date. As a Millennial, I was privileged to become a homeowner in September 2020. All-time-low interest rates coupled with Covid-19 mandates and quarantines made it difficult to find a home within my preferred county that aligned with my budget. As a result, I settled on a home two hours away from my work office and one to two hours away from my loved ones and the areas I have grown to love.

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Though I was able to purchase a home in a highly unpredictable market, it was not easy at all. In our society, it has become a common trope that Millennials are unable to afford homes due to factors including rapid increases in home value, record inflation rates, and crippling student loan debt. But is there any merit to this assumption or is it a spiraling joke?

Millennial Income

The first step in answering this question is determining the income of the Millennial generation. According to the most recent U.S. Census, Millennial households made a median of $71,566 in 2020. When adjusting for inflation, this number resembles earnings of similarly aged Generation X households about 15 to 20 years in the past. Since relative income has largely stayed the same while home prices have increased, this first piece of information supports the argument that purchasing homes will be more difficult for Millennials. However, understanding how much home values have increased is also important in validating the theory. 

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Home Value in the United States Today

According to the Federal Reserve Bank of St. Louis, the average sale price of houses in the United States increased from $205,000 in January 2000 to $457,000 in Jan of 2021. In 21 years, that’s an over $250,000 increase in prices. Though surprising, those numbers are not indicative of the current situation in 2022. Today, Zillow reports that the average cost of a home is $349,000 which is $100,000 less than the previous year. Those are some interesting numbers. It took 20 years to increase $250,000 in value, but one year to decrease $100,000 in value. The only other time in recent history such a large change occurred was in 2008, and it was caused by the recession. So what influenced the latest massive drop in home prices?

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Interest Rates

The main factor that influenced the rise and drop in home prices was historically low interest rates. From 2019 to 2021, interest rates averaged 3.33%, which were the lowest interest rates ever recorded. This decreased the monthly mortgage of homes in the U.S. while simultaneously increasing the affordability of homes for homebuyers. As a result, homebuyers flooded the market and were able to pay more than sellers were asking to secure the homes they wanted. However, record-low rates from the Federal Reserve were intended to accommodate Covid-era policies and temporarily stimulate the economy. Thanks to vaccines and the lifting of lockdown restrictions, the economy recovered rapidly. This led to a spike in mortgage interest rates within the first six months of 2022, from 3.86% to 5.78%. This spike decreased what homebuyers could afford monthly, thus reducing offers on homes as well. 

Search US Interest Rates Over Time

What does this mean for Millennials? 

It is possible that the unusual spike in home prices was temporary and could continue to decrease over time. Unfortunately, it is impossible to predict future trends. Therefore, the best we can do is calculate the affordability of homes with the current home value average of $349,000.

So, how do you calculate the affordability of a house? Banks use a debt-to-income ratio to determine whether or not someone can afford a loan. There are two approaches to go about determining debt-to-income ratios: on the front end and the back end. Front-end ratios are computed by dividing your monthly costs by your gross income. The back end ratio is determined the same way as the front end, but adds all other recurring monthly debt into the equation. For the sake of implication, we will be using the front end ratio and utilizing an online calculator. If you bring in the median household income of $71,500, you can afford a house priced up to $263,341, with a 5.75% interest rate with a down payment of $52,668 and a loan amount of $210,673. This maximum home value falls below the today’s average home value of $349,000. Unfortunately, based on the 28/36 rule, A Millennial making the median income cannot afford the average home in 2022. 

However, this does not tell the whole story. Indeed, a Millennial most likely will not be able to afford the average home cost in 2022, however, this does not mean they cannot afford a home. The average of something naturally means that there are data sets both below and above that number. With a budget of $263,000, depending on the location, a Millennial can afford a home valued below the average of $349,000.

For example, the average cost of a home in Mississippi is $166,000 while the average in California is $465,000. The region, state, city, county, and market play a huge factor in the average cost of a house. Additionally, some local grants and programs assist in home buying, which promotes homeownership among different classes of people and makes homeownership more attainable. Therefore, we can potentially conclude that Millennials could easily afford homes within our economy.

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Additional Factors to Consider

Another significant factor exists in student loan debt. Student loan debt is arguably the largest obstacle that Millennials have to overcome to reach financial independence. The average Millennial has over $38,000 in student loan debt. This number factors directly into the debt-to-income ratio of a mortgage applicant, decreasing the chances of being approved for a loan and reducing the amount Millennials qualify for. Interestingly enough, Millennials do not hold the highest amount of student loan debt on average. Gen Xers have an average of $45,000 in student loan debt, which is $7,000 more than Millennials. However, because Gen Xers are likely further along in their careers, they are already earning much more income which cancels out the difference in debt. 

In our Society, Can Millennials Afford Houses? Yes or No?

The answer is, “Maybe.” Generally, the “average” Millennial cannot afford homes priced at the national “average” home value. However, there are many other factors such as debt, government assistance, location, and more that determine an individual’s eligibility to afford a home. Millennials are indeed experiencing a much more volatile economy in a condensed amount of time, which makes it difficult to follow in our predecessor’s footsteps and invest wisely or save more aggressively. Ultimately, the eligibility for affording a house lies mainly with one’s financial responsibility, literacy, discipline, and serendipity. 

Dear Data 2: A Week of Complaints

My second attempt at Dear Data covered the complaints I made within a week. This time around, out of convenience, I collected my data in a Google sheet.

The following were topic and supporting questions that helped guide my data collection:


What are my complaints?

  • What annoys or frustrates me? What do I find unacceptable/unsatisfactory?
  • In which settings do I complain? (Relationships, work, school, etc.)
  • Is my complaint attached to a specific subject? (person, place, thing)
  • When/how often do I complain? (date, day of the week, time, etc.)
  • Is my complaint valid? (Am I being dramatic?)
  • Who do I complain to?
  • How do I manage my complaints? Do I take any further action?

Although I started collecting data with the subject of the complaint in mind, I found that I didn’t truly need this information in my final visualization. I’m already pretty aware of the things I typically complain about. Additionally, I eventually omitted the actual topics of each complaint. Though I initially thought my visualization would orbit this information, in the end, I found that the most significant trends within the data were how often I complain, who I complain to most and if I take any further action after complaining.

Here’s how it went:

My findings after collecting this data: 

  • Most of my complaints were valid, although I did throw in a little drama every so often
  • My husband hears the majority of my complaints
  • 3/8 of my complaints were about work
  • I did not take further action as much as I would like to

Now that I know this information, I can make better decisions about my complaining habits, whether I want to continue to complain, and what I’ll do with my complaints moving forward. 

Furthermore, creating my own Dear Data visualizations was a great exercise that I hope to continue. Gathering my data around life happenings and habits keeps me present and conscience, offering insight into decisions I have made or may be making. I was also able to identify and analyze which of my habits are healthy and unhealthy. Through these exercises, I practiced being introspective during a very busy life season, which I appreciate.

I struggled the most with the visualization of my data, but with time and practice, I think I’ll learn to try more things. The more I practice, the more comfortable I’ll become, and the easier it will be to track information within my daily life. 

Module 4: Datawrapper & Maps

Maps are one of the most common data visualization forms we use today. Used to highlight geographical regions in data, like “countries/regions, states, counties, or postal codes,” maps help quickly identify the area that is being reported on and sometimes incorporate specific details. 

Image Source: How the Virus Got Out, New York Times

Although once performed by hand, creating maps can be time-consuming and tedious, as they involve complex features and elements, such as scale and symbols. Therefore, to assist with processing data tied to geographical regions and account for the complexities, powerful tools such as Excel, Tableau, Datawrapper, and the like have been created. Datawrapper is a user-friendly, open-source web tool that you can use to create beginner to advanced interactive charts. 

My first impression of this tool was that it is very user-friendly with a simple interface. After a few years of experience creating and displaying charts and graphs between Microsoft, Apple, and Adobe software, and with a little experience in Tableau, I was relieved to begin utilizing a tool designed with non-technical people in mind. Using Datawrapper’s 4-step process, I was able to create visually appealing charts, graphs, and maps swiftly– and it was an enjoyable experience!

Population Over Time

My first task was to create a chart to accurately depict the change in the population of three popular African countries, Nigeria, Ghana, and Cameroon, over the past 70 years. My primary inclination was to utilize a line chart to indicate change over time. This process was fairly simple.

Explore Interactive Data

To experiment further, I attempted to create a table to display the same information. This quickly became more lengthy and involved. due to the way tables display information compared to line charts, creating a table required a reorganization of my data. After reorganizing the data, I learned how to use sparklines to summarize the overall trend. Next, I inserted an additional column to indicate the difference in growth from 1950 to 2020 for all three countries. This resulted in a much more informational table. 

Explore Data

Finally, I tried my hand at creating a map. However, the data I collected highlighted non-geographical patterns and supported analysis more than observation. In this case, I returned to the original data I collected (before cleaning) and cleaned again, seeking the 10 most populous countries in Africa in 2020, which could be displayed using a symbol map. 

A symbol map is a great map for representing specific locations within a larger region. To make the symbols vary in size, I inserted a new column containing the 2020 populations of all ten countries and sized my marker shapes based on the data in that column. My map is responsive and interactive, communicating the population information through size and leaving the numbers out. Overall, these three visualization methods helped me further understand the importance of pairing the appropriate visualization with the dataset and details you are working with.

Maximum Temperature in a Year

Next, I moved on to creating another chart detailing the maximum temperature of the month in 2021 at the National Arboretum in Washington, DC. I decided to use another table to visualize this information. Although I wanted to focus on the day with the highest temperature per month, I found that the table required me to revisit the original data and add the data covering every day of the month back in. This made the table more versatile and highly effective, as it houses a line chart showing temperature patterns over time, the maximum temperature of the month, and the specific day of the month when the maximum temperature occurred. Additionally, I was able to incorporate a heatmap to highlight the highest temperatures and the lowest temperatures in different colors. As a result, the viewer can quickly differentiate the temperatures. The result was a stunning chart that shares a vast amount of data in an easily understandable format.

Explore Data

For additional practice, the type of map I attempted to pair with this data was a locator map. Locator maps are perfect for displaying the places you are mentioning within an article. They don’t communicate specific data points and numbers like temperatures in °F. They simply state. “this is where it is located” or “this is where it happened.” Since the National Arboretum is located in Washington, D.C., I wanted to display the Arboretum within the context of its home district. 

Explore More

Creating this map was straightforward and fun to play around with. I chose a tree as the symbol of the location marker and included an inset map of the District of Columbia so viewers could reference the surrounding area. In future locator maps, I would like to experiment with adding in multiple locations, utilizing 3D buildings, and incorporating annotations and a key. I have found that locator maps can be helpful and insightful for viewers because they provide unique context and may be easier to absorb than a paragraph of writing.

Maryland Vehicle Theft Within Counties I Have Lived In

Lastly, I created a line graph depicting the number of motor vehicles reported stolen within three Maryland counties between 2010 and 2020. Using a choropleth map, I highlighted three different counties: Montgomery County, Prince George’s County, and Baltimore County. To support the story behind my data (in a perfect world), I would be able to select a specific year within the 10-year range and observe the color change over time, However, choropleth maps do not work well for displaying the correlation between values or observing subtle numeric differences. Therefore, I revisited the possibility of a line chart to display this data.

Explore Interactive Data
Explore Interactive Data

Altogether, while using Datawrapper I gained a greater understanding that not all data related to a specific area or region works well in a map visualization. Furthermore, some forms of visualization are effective when the data is comprehensive while others get by with simplified, general information. The key takeaway here is that data visualization requires thoughtfulness and intention. And it’s okay to experiment with various visualization approaches to find the most suitable and accurate one. 

If you’re looking for a visualization tool, Datawrapper is a great place to start! It is user-friendly and there are numerous resources online to assist with any questions that may come up. Moving forward, I plan on using Datawrapper lots more.

Dear Data 1: A Week of Food

Dear Data is a project by two information designers, Giorgia Lupi and Stefanie Posavec, involving the collection of data from their daily lives on postcards and mailing them to one another. On the front of each postcard is their chosen data visualization, and the back features a key detailing how to read the data. Much like popular mood and habit trackers, the postcards feature unique visualizations. These visualizations are comprised of custom symbols, color variation, shape, thickness and length of lines, and the use of left and right, all defined by the designer behind the data. 

To kick off my own Dear Data adventure, I started by identifying a topic and supporting subquestions to guide my data collection:

  • What are my eating habits?
    • What have I eaten? (category: snack, fruits, meal, etc.)
    • What did I eat? (specifics)
    • When did I eat? (date, time of day, etc.)
    • What was I doing while eating? (working, watching a show, at dinner, etc.)
    • What were the portions? (mini, small, mid, large, surplus, etc.)
    • Was it home-cooked? If so, who cooked?
    • Was it fast food or carry-out? If so, from where? How much did it cost?
    • Did I visit a restaurant? If so, what restaurant? With whom? How much?
    • Why did I eat? (hungry, craving, bored, snacking, offered to me, just because, etc.)
    • What was my hunger level? (low, average, high, starving)
    • Was it satisfying? (satisfied, neutral, dissatisfied)

Next, I created a simple table in my sketchbook to track everything I ate for an entire week. My subquestions became each column within the table, and the rows were the meals, organized by date and time.

As I collected, I started noticing trends within the data. First off, the week in which I tracked my eating habits was a peculiar week to do so. It was an extremely busy week that consisted of completing design work all day, having late-night work sessions, attending multiple meetings and class sessions, and commuting for various appointments and errands. The main trend I noticed was that I ate out every single weekday. My reasons for purchasing food instead of eating at home or cooking were primarily out of convenience, and to save time. I also think eating things I knew I would be satisfied with offered a sense of comfort and peace of mind in contrast with the chaos of my work week. Another trend I noticed– I tend to purchase decent portions of food and span my consumption of those meals across a couple of days. I also do not have a routine for my meals; I just squeeze in food where I can and often wait until I’m hungry (with an average or high hunger level) to eat.

Once all of my data was collected for the week, I began exploring possible ways to refine and visualize all my findings. I started by reviewing each column and deciding what was most important to display in my final visualization. I eliminated insignificant columns and details to simplify things, including dish name, fast food/carryout, restaurant, and why I ate. Some of this information resembled other existing information closely, while other information was irrelevant to the story I wanted to focus on. This left me with simplified versions of the columns that would eventually define my key: the day, time of day, level of activity, portion size, hunger level, satisfaction level, meal category, the reason for eating, and whether or not the food was home-cooked.

Here’s what I ended up with:

Overall, I learned a lot about myself through this exercise. For starters, the majority of the times that I ate in one week, I was trying to multitask and accomplish something else while eating. The frequency at which I ate each day was inconsistent from day to day because I squeezed in meals where I could. I also only ate when I had an average or high hunger level. Finally, 1/9 of the times I ate was a home-cooked meal– and I was not the chef!

Module Two: The Four Types of Information Visuals

Image Credit: The 4 Types of Visualisation and the Role They Play in Market Research, B2B International

When visualizing information, selecting a decent chart or graph type to display your data may seem like a no-brainer. We often throw things together quickly, choosing a chart type on impulse. It might surprise you that this is not the ideal approach to visualizing information. In fact, a better practice involves asking yourself a couple of questions about your data. 

The Nature and Purpose Questions

According to Scott Berinato, you should consider the following questions about the nature and purpose of your visualization in order to start thinking visually:

  1. Is the information conceptual or data-driven?
  2. Am I declaring something or exploring something?

These two questions combine in a 2×2, creating four possible types of visualizations: Conceptual-Declarative, Conceptual-Exploratory, Data-Driven-Exploratory, and Data-Driven-Declarative.

The Four Types

Conceptual-Declarative

In the quadrant between conceptual and declarative lies Idea Illustration. The goal of idea illustration is to simplify complex concepts. This kind of visualization illustrates processes and frameworks, commonly resulting in a simple and metaphorical visualization. Idea illustration is often utilized in presentations and teaching and can often involve trees, bridges, and circles, showing up as decision trees, org charts, tree diagrams, cycle diagrams, and the like. 

Image Credit: BYJU’s

Water cycle diagrams are a good example of idea illustration because most of them highlight the main stages (evaporation, condensation, precipitation, and collection) in a cycle format. Most of these diagrams do not visualize the complexities of the water cycle. They often omit additional phases that may make the concept more challenging to understand, including surface run-off, percolation, transpiration, and more. Instead of throwing all aspects of the cycle into one diagram, they are grouped into four basic categories. Through teaching, these categories are further explained. The simplification that exists within water cycle diagrams is a key feature of conceptual-declarative visualizations. 

Conceptual-Exploratory

Also known as Idea Generation, conceptual-exploratory visualization is “typically used in group brainstorming sessions to gather as many diverse points of view as possible.” Idea generation is used for discovery, learning, concept simplification, collaboration, and design thinking. This form of visualization often takes place informally, involving whiteboards, sketchbooks, butcher paper, napkins, etc. This approach is a “go-to for thinking through complexity.”

Design thinking involves a lot of idea generation, including mind mapping. Mindmapping is a graphical technique in which participants build a web of relationships. By branching out from a central main idea, this strategy creates a visual representation of related terms and ideas. Mindmaps are successful conceptual-exploratory visualizations because they support the discovery and dissection of complex ideas. 

Image Credit: Build Your Creative Confidence: Mindmaps, IDEO

Data-Driven-Exploratory

The third visualization type exists between data-driven and exploratory. Visual Discovery seeks to identify trends, make sense, and achieve deep analysis. Within the 2×2, this quadrant is the most complicated, as it incorporates big, complex, and dynamic data and covers two subcategories: confirmation and exploration. Exploration is open-ended, while confirmation is more focused exploration. 

Image Credit: Information is Beautiful

The $Billion Dollar o-Gram, explained further by its creator, David McCandless, is an example of a data-driven exploratory visualization. It displays American spending, earning, potential giving, fighting, giving, owing, and accumulating. McCandless describes this visualization of complex data as a “landscape that you can explore with your eyes, a kind of map, a sort of information map.” Over the years, there have been many iterations of the $Billion Dollar o-Gram, including interactive versions, that allow users to explore and make sense of the vague “billions” of dollars often mentioned by American news outlets. This evolving data promotes discovery and analysis, characteristics of data-driven exploratory visualizations.

Data-Driven-Declarative

Finally, data-driven-declarative visualizations are also called Everyday Data Viz. This form of visualization is the one most people choose on impulse. Everyday data viz looks like conventional charts and typical graphs including, bar charts, pie charts, line charts, and scatter plots. It is often utilized in formal presentations and serves the purpose of providing context and affirming information. The data behind these charts is often simple and of low volume. Everyday charts and graphs support a simple narrative and make clear and distinct points based on established data. 

Much like numerous pie charts we observe and create regularly, Lumina’s opportunity pie chart clearly depicts how people in the United States understand opportunity based on their 2019 National Racial Justice and Equity Framing Survey. This chart makes it clear that the majority, 56% of the participants, agree that “opportunity isn’t equal in the United States. This is followed by 35% who agree that “everyone has equal opportunity in America.” Finally, the remaining 9% agree with neither of the preceding statements. The data behind this chart is simple, separated into three categories. The chart itself is also simple, straightforward, and declarative, making clear and distinct points. 

Image Credit: How to persuade people of the need for racial justice and equity, Lumina

Conclusion

We often default to everyday data viz when seeking a way to visualize important information. However, it is imperative to identify the visualization that suits the specific data you are working with. The four types 2×2 should serve as a guide, informing the decisions you make about the visualization of your information. These decisions will determine “the skills you’ll call on, the tools you’ll use, and the media you’ll visualize.” Furthermore, asking the necessary questions will ensure that your visualization is successful and effective.

Module One: An Introduction to Data Visualization

London Underground, Henry Beck, 1933

The Significance of Data Visualization

Over thousands of years, humans have developed and perfected the practice of collecting and analyzing data. Over time, we have found that data is a valuable asset that empowers people and organizations to identify problems, gather accurate information, and make informed decisions. Data collection and analysis are highly effective. Even so, data visualization takes things a step further, allowing people to dissect and display complex information in a comprehensible and user-friendly way. 

According to TechTarget, “Data visualization is the practice of translating information into a visual context, such as a map or graph, to make data easier for the human brain to understand and pull insights from. The main goal of data visualization is to make it easier to identify patterns, trends, and outliers in large data sets. The term is often used interchangeably with others, including information graphics, information visualization, and statistical graphics.”

Data visualization is powerful and impactful. Visual representations of data allow people to relay a specific message utilizing numbers and records to support their case. However, data visualization can also misconstrue messages, aid with misinformation, and result in the use of data to tell a desired story as opposed to the truth.

Technological Advances and Data Visualization

With time, humans have discovered and invented more efficient ways to collect, process, analyze, and display data. Today, “software tools for a wide range of visualization methods and data types are available for every desktop computer.” With the impact of the Information Age, people’s practices have generally evolved, resulting in the replacement of physical objects with digital representations. This makes capturing and displaying data much more accessible and cost-effective. 

However, now that data visualization exists within anyone and everyone’s reach, it is much more difficult to track progress within the world of data visualization, especially historical progress. Michael Friendly writes, “it is hard to provide a succinct overview of the most recent developments in data visualization, because they are so varied, have occurred at an accelerated pace, and across a wider range of disciplines. It is also more difficult to highlight the most significant developments, that may be seen as such in a subsequent history focusing on this recent period.”

Furthermore, data visualization, like everything else, requires context that communicates our reality. Without this context, an audience will not receive correct, important, and meaningful information. Although technological advances make it easier to automate data visualization, these advances can also result in missed opportunities in which we are displaying and sharing data that is useless, confusing, or misleading instead of sharing information with its significance and relevance in mind. To incorporate our reality into data visualization, Giorgia Lupi suggests that, when dealing with data, people should prioritize and practice data humanism. With the implementation of technological advances, we begin losing our human touch. According to Lupi, achieving data humanism occurs by embracing complexity, moving beyond standards, incorporating context, and remembering that data is imperfect. She states, “to make data faithfully representative of our human nature, and to make sure they will not mislead us anymore, we need to start designing ways to include empathy, imperfection, and human qualities in how we collect, process, analyze, and display them.”

Though technology has benefited us in many ways, it is imperative to ensure that what we publish and share is genuine, true, and captures the essence of human nature. 

New York City Subway System, Massimo Vignelli, 1972

What Makes a “Good Chart”?

A good chart must be easily understandable. Most audiences include individuals from varied backgrounds who have distinct ways of processing information. Therefore, a good chart should be simple, clear, and self-explanatory. Elements that support a comprehensible chart include keys/legends, explicit titles, stated units of measurement, and labels.

From a designer’s standpoint, a good chart must involve the elements and principles of design. Some examples of elements are line, shape, color, texture, type, space, etc. Principles include alignment, balance, hierarchy, emphasis, contrast, movement, proportion, white space, and more. Maintaining the elements and principles of design help with creating charts that are widely understood. 

I respond well to charts and graphs that maintain a distinct use of color balanced with decent whitespace. Additionally, I am easily overwhelmed by graphics that contain a sizable amount of complex information, so I appreciate charts that are simple and easily absorbable. Furthermore, I love work that pushes the boundaries of how data can be visualized, displaying data in unique and engaging ways. I also love charts that include visual elements such as photos, illustrations, and icons. Finally, I value useful, functional, and interactive data visualizations. In recent years, I have become familiar with bullet journaling and mood tracking, which has been very helpful for me. 

Here are some examples of good charts I respond to:

Distinct Color Balanced with Decent Whitespace

Source 1, Source 2, Source 3

Simple and Easily Absorbable

Source 1, Source 2, Source 3

Charts that Exemplify Divergent Thinking and/or Include Visual Elements

Source 1, Source 2, Source 3, Source 4: Photos I took of the menu of a restaurant I visited in Orlando last year

Functional, Useful, and Interactive Data Visualizations

Source 1: Functional information to navigate the DMV subway system, Source 2: A quick reference guide for photography, Source 3: Useful information to support color theory in design, Source 4: Informative information about typography for designers, Interactive Data Viz

Course Capstone – The Pitch

As a millennial, graphic designer, and all-around creative, I have always had a relationship with social media both, personally and professionally. However, I didn’t grow my understanding of social media as a practice until recently. This semester I took a course called Social Media Practice, which exposed me to the underworkings of building a strong social media presence. I learned how to perform a social media audit, create a content calendar, utilize paid advertising, and so much more. My key takeaway from this semester is that being successful on social media takes numerous resources, including, time, energy, research, innovation, and effort. No matter the size of your goal, you’ll need to actively work toward achieving it. Social media is a significant part of our current society, therefore, it should be respected and utilized as such.

Creating a Strategy for AVIXA

To bring all I’ve learned to a culmination, I am finalizing this course with a Social Media Strategy I crafted for the Audiovisual Integrated Experience Association, also known as AVIXA. I started by observing AVIXA’s current social presence and happenings surrounding the association’s various platforms. I found that AVIXA’s community members were mostly present on Instagram and Twitter, so I focused on developing a strategy for these specific platforms. While observing AVIXA’s social pages, I noticed a couple of things:

  • Inconsist Topics: The content of posts covered various topics 
  • Inconsistent Engagement: Outside of live events, AVIXA minimally engages with followers

After learning of these potential improvement areas, I deemed it necessary to create a very focused and feasible strategy to cover the rest of 2022, mostly utilizing resources AVIXA currently has in-house. The overall goal was simple: increase engagement

To get a closer look at my strategy, check out the YouTube video above and/or presentation below.

Social Media Practice within my Career

The cool part about creating this campaign is that I actually work at AVIXA. Furthermore, another designer and I are currently working alongside the organization’s social media manager to draft a content calendar and develop content for the remainder of the year. As a result of this course, I now have a deeper understanding of the social media manager’s role and practices and can see things from a new perspective. This year, supporting social is a collaborative goal among myself and the other designer and, although it may take time, I would love to implement some elements of my strategy into our daily work. AVIXA’s current social media manager is running a one-woman show. I will primarily continue to create deliverables for our social platforms, however, with my increased knowledge, I plan to help her in whatever way I can.

Final Thoughts: Social Media is Here to Stay

I’ve said it before and I’ll say it again: Social media is here to stay. As social media continues to evolve and adapt, it will likely become even more integrated into our daily lives and practices. In the years to come, social platforms like Instagram, Twitter, Facebook, and TikTok will continue to grow and serve unmatched purposes in our lives. Meanwhile, additional platforms will likely arise and claim their niche. This is why businesses and organizations must invest in their social media platforms. Whether internal or external, if a company desires to establish and develop its social media presence, it is best to hire a team of social media experts to get the job done. 

Module Seven: Telling a Story II – Mini-Doc (Production and Post)

Using 3-point lighting while filming interviews with Krystal and Chima.

Reading & Writing

For a few years now, I’ve owned a mirrorless camera, a couple of lenses, and a few different types of microphones. I have always desired to create enjoyable audio and video, but owning all the equipment was a little intimidating and I did not know where to start. This semester, through the Audio & Video Design course and The Bare Bones Camera Course for Film and Video book, I have learned a lot. From microphones and cameras to composition, filming, editing, and so much more, I am now very confident about how and when to use specific film and video equipment to achieve my desired results. Furthermore, I have learned how to produce work that is understandable, entertaining, and compelling for my viewers and listeners from start (pre-production) to finish (post-production). I experience video and audio pieces from a new perspective, considering the production and editing while viewing and/or listening.

Moving forward, I am excited to continue putting my knowledge and equipment to use by telling captivating stories through audio and video. I have already started learning about more advanced equipment, just to expand on my current knowledge. My husband and I are currently considering purchasing a second camera to assist with the production of our creative projects in the future.

Some Final Words

As I complete my final week of Audio & Video Design, I will hold onto the final words from Tom Schroeppel’s The Bare Bones Camera Course for Film and Video. On page 128, Schroeppel explains that creating moving pictures is a subjective art providing the opportunity to create freely and expressively. However, the knowledge shared throughout chapters 1-10 is a great place to start if you’re looking to create pieces that will work. Even if you want to deviate from the norm and try new things, it is wise to shoot a basic sequence to fall back on in case your work does not turn out how you envisioned.

Additionally, progression in video production comes from a willingness to receive criticism as well as criticize yourself. Schroeppel said it best: “Professionalism is based on the ability to repeat your successes, and avoid repeating your failures.” Make it a practice to evaluate your successes and failures, learn from them, and improve.

Research to Inform

J and L Cuts in Film and Video

Tenet

In this scene from Tenet, The Protagonist and Kat have an extensive conversation about Kat’s husband, Andrei Sator, the antagonist. Kat explains her husband’s controlling nature and reflects on a specific trip to Vietnam. The sequence contains multiple L cuts that serve as a flashback of sorts in which Kat narrates and details an interaction she had with Andrei. Within a very steady and serious conversation sequence, these cuts communicate Kat’s internal struggle with feeling imprisoned by her husband. They also help illustrate her story and create visual interest within this part of the movie.

Black Panther

Marvel’s Black Panther contains a very subtle J cut at the beginning of the scene where M’Baku challenges T’Challa. The scene starts with the sound of chants from M’Baku and the Jabari tribe, however, we do not yet see any of the tribe members. As viewers hear the chants, we see the shocked faces of various attendees of the coronation ceremony. We then see the Jabari Tribe slowly emerging from the shadows chanting; what we see on-screen finally matches what we were hearing all along. A J cut in this sequence communicates the surprise and confusion we see on the faces of the Wakandans as they hear the chants and don’t know where they are coming from. When we finally see M’Baku and his tribe, the origins of the chants are confirmed and all questions are answered the confusion ceases.

Wedding Videos

In recent years, a common wedding video editing trend has included the use of J cuts. Videographers often choose to utilize soundbites from words exchanged between the couple or vows, to narrate the video way before viewers see the accompanying footage. In this case, we begin hearing the groom speaking at 0:17, but we don’t see him until 0:48. Using J cuts in this way gives the video a sentimental tone and recounts some of the most important and memorable words said during the ceremony. It also highlights what the other individual loves about their partner as we observe and study that person.

Create

A 2020 Wedding

Speaking of wedding videos, for my final assignment, I created a mini-documentary that tells the story of my friends, Krystal and Chima, who met in undergrad, started dating in grad school, got engaged, and started planning their wedding for March 2020. Days before their wedding, a global pandemic was declared and a national quarantine resulted in limitations on the number of people who could be present in one gathering. Krystal and Chima’s pre-planned, dual-ceremony wedding of 500+ guests ended up being one intimate ceremony that could only be attended in-person by immediate family and the bridal party.

Although I planned for a 1-5 minute video, maybe 8 minutes max, I asked the couple around 80 questions and got around 80 good answers. As expected and discussed in my previous blog post, while editing, I chipped away at the video as much as possible, but felt there were details shared. by the interviewees that were significant to the overall story. Therefore, my final video ended up being just under 12 minutes.

Editing a video this long is no joke! I definitely experienced some hiccups along the way, including losing some main audio due to distortion and relying on backup audio that sounds a bit different, even with effects. I also had to get creative with b-roll in some areas, as my camera b shots were over the 180-line which required me to use some of the b-roll photos and videos as cutaway shots. Also, Chima and Krystal are not your average take-a-picture-every-second millennials, so I had to access my archives for amateur photos and footage to cover the details they discussed around graduation, their engagement, and their wedding.

Although there’s always room for improvement, I am pleased with my mini-doc and impressed that I was able to accomplish this in two weeks. Following a quick break, I am excited to return to editing and explore shooting supplemental footage to further refine the documentary. I believe Krystal and Chima’s story is relevant to our times and I think viewers would appreciate hearing some of the details I chose not to include just yet. 

This experience has sparked a lot of conversation between the couple, myself, and my husband, and when time permits, we may end up hosting a joint YouTube or podcast series, as we resemble one another in character, personality traits, relationship journeys, marriage experiences, and much more. Overall, filming was truly a hilarious and fun experience and I think we would all enjoy sharing the conversations we regularly have as a group with others. After all, I’ve gotta put my skills to use somehow.

Paid Ad Campaigns

Photo by Szabo Viktor on Unsplash

The Pros and Cons of Social Media Advertising

In recent years, social media advertisements have become very popular, creating opportunities for brands to reach audiences without breaking the bank. In many cases, social media advertising proves more effective than organic posts, as “social media is cheaper than any form of advertising available today” and paid campaigns grow at a faster rate than organic ones. Social media advertising also allows brands to target specific users based on distinct characteristics including demographics, lifestyle choices, practices, professions, interests, and more. As social media algorithms can be fickle, ads assist in scaling presence and increasing brand awareness. 

Personally, I value organic social posts over social media advertisements, because, these days, social platforms are inundated with paid ads, which can become redundant and annoying. Too much exposure to the same advertisements “can become a trigger to tune out resulting in the audience disregarding messages.” Furthermore, social media advertising requires time, effort, and constant monitoring. There are many factors for brands to consider while publishing paid advertisements on social media, including the frequency at which the ads will appear to their audience, the messaging that accompanies the ads, and the social media ads being published by their competition.

Dr. Squatch Paid YouTube Advertisements

In 2018, a personal care brand called Dr. Squatch began running an ad campaign on Facebook and YouTube comprised of a 3-minute explainer video “with the goal of driving top-of-funnel sales, and engagement.” The video served as an edutainment piece, featuring comedian James Schrader who wrote and acted in the video. In the first 5 seconds of the video, Schrader bashes the typical soaps male viewers shower with, saying, “listen up! The soap you shower with, it’s sh**. You probably haven’t even questioned what bar soap you lather up with.” The video maintains a loose, informal tone as he continues to criticize the soap men use regularly and promotes Dr. Squatch’s natural, healthy soap as a manly man’s ideal soap selection. The caption is straightforward, featuring two CTA links: “Visit http://drsquatch.com to upgrade your shower game Dr. Squatch® Thanks to James Schrader for starring and writing this amazing piece! Please check out his website below http://jamesschrader.com/.”

The goal of this video was to create a unique experience for viewers. The company spent “about $18,000 on the video,” which was a major expense for a company with a revenue of $3M at the time. Fortunately, this expense paid off. The video’s striking hook caught viewers’ attention, leading to an influx of views and shares. Dr. Squatch’s first YouTube video went viral, especially on YouTube, rapidly racking up “more than 120 million views and 100,000 shares across YouTube and Facebook. Sales rose thirtyfold, to more than $100 million.” Today, the video has 117,875,555 views, and the company has moved on to achieve a Super Bowl commercial of 2.7M views and has been recognized as a $100 Million business. Additionally, they have sponsored videos of various YouTube creators and recently budgeted for more social spending.

This paid campaign was successful, due to the video’s tone and hook. Most personal care advertisements look and feel luxurious and maintain a more formal tone. Dr. Squatch’s video began with a raunchy hook that would be more relatable to their targeted audience of manly men than your average posh personal care ad. The video also depicted James Schrader and additional actors in nature and described Dr. Squatch as a suitable soap for “men who build things, men who open the pickle jar on the first try, men who catch foul balls without spilling their beer.” YouTube was also a great platform to host the ad, as paid YouTube ads are regular videos that exist on a company’s channel. Therefore, viewers can locate the video easily and rewatch it, comment, or share it with others.

Old Spice Paid YouTube Advertisements

In the same realm as Dr. Squatch, Old Spice is a widely-known male grooming product brand. The brand has been around since 1937, facing the challenge of staying relevant in the eyes of consumers as competitor brands emerged all around. As Old Spice began to fall out of favor, the brand sought new ways to keep up with its competition. In 2010 Old Spice published a unique advertising campaign on YouTube with a new target consumer in mind. According to their research, 60% of men’s body washes were purchased by women. Therefore, their first campaign video featured an attractive male actor addressing his viewers with, “Hello, ladies.” 

On February 5, 2010, a few days before the Super Bowl, Old Spice took to YouTube to commence their, “The Man Your Man Could Smell Like” campaign, targeting the millennial market. The video instantly went viral and, by the third day, the campaign reached 20 million views. Within one month, “Old Spice became the number one all-time most-viewed brand on YouTube.” Today, the video has 60,466,553 views. But they didn’t stop there.

Old Spice decided to continue their campaign with a “response” campaign. In two-and-a-half days, the company “filmed 186 video responses to fans and celebrities, based on questions culled from Twitter, Facebook, Reddit and more. These real-time messages were then posted on YouTube, sparking a sensation that would become the fastest growing and most popular interactive campaign in history.” Over the next few months, Old Spices’ sales skyrocketed, and they became the #1 brand for men’s body wash, remaining relevant today. P&G reported that the campaign resulted in nearly 105 million YouTube views, 1.2 billion earned media impressions, including features on national broadcast networks and international media outlets, a 2700% increase in Twitter followers, an 800% increase in Facebook fan interaction, and a 300% increase in website traffic.

This campaign was successful, due to the strategy behind it. Old Spice relied on research to determine their target audience and created an ad with a script that directly addressed their audience. The company also selected a platform that their target audience utilized regularly. Furthermore, Old Spice released their campaign a few days before a popular, national sporting event, on a platform that would likely also host ads that aired during the Super Bowl. Finally, once their ad went viral, they repeated the success with a response campaign. 

Lessons Learned from Both Campaigns

  • Consult an advertising or marketing agency to help you think outside the box and craft a unique and compelling campaign
  • Be flexible. New campaigns often come with rebranding
  • Consumer research is imperitive to determining your target audience
  • Once you are aware your target audience, create a script and/or a visually compelling piece that addresses audience members directly and/or quickly catches their attention
  • Don’t be afraid to go against the grain and try something new
  • Find unique ways to compete with other contenders
  • Utilize a social platform that your audience frequents
  • Monitior responses to your campaign on all social outlets and respond to your viewers
  • Repurpose content where necessary
  • Have fun!

Module Six: Telling a Story I – Mini Doc (Pre-Production)

photo by TheRegisti on Unsplash

Reading & Writing

This week, in preparation for telling a story in mini-documentary format, I read chapters 7 and 9 in Tom Schroeppel’s The Bare Bones Camera Course for Film and Video. Here are my learnings from both chapters:

Chapter 7: Lighting

This chapter covers exterior Lighting, interior lighting, and basic lighting setup. Considering exterior lighting, the most common and powerful source of light is the sun. most people look their best in sunlight when the sun is 45 degrees above the horizon. However, the sun can present many challenges for maintaining controlled lighting due to its constant movement. When sunlight causes strong shadows on your subject, it is best to use a reflector or fill light. 

  • reflector is anything that reflects light including a board covered in foil or silver paint or a white poster board. 
  • fill light is a supplementary light used to lighten shadows. Fill lights are powered by electricity.

Three commonly used lights in interior lighting are focusing quartz lights, broad lights, and softlights. 

  • Focusing quartz lights are the most common lights in use. They are versatile, allowing you to control the pattern and intensity of the light, ranging from “spot” to “flood.”
  • Broad lights are designed to emit broad, even light. They are non-focusing. Broad lights don’t offer any controls, so the hard light that broad lights emit can be softened by bouncing or using diffusion material.
  • “A softlight is a permanent, portable bounce light.”

Most lights come with flaps, called barn doors, which allow you to block off or shape the pattern of light. 

The classic basic lighting setup includes a key light, fill light, and backlight. Sometimes, a fourth light is added, called the background light.

  • The key light serves as the main light source.
  • The fill light should be set up on the opposite side of the subject from the key light. This light needs to be bright enough to fill in the shadows, “leaving just enough shadows on the subject’s face” to create depth.
  • From behind, the backlight trims your subject’s shoulders and head. This light separates your subject from the background.
  • Finally, the background light illuminates the background to add depth. 

Lighting is an art in itself, so it’s best to be methodical and go slow. Try one light at a time and see what it does.

Chapter 9: Doing It

Planning and shooting a sequence starts with deciding on what your finished product will be. The next step is to create a shooting plan. Once you have a good understanding of your final sequence and your shooting plan, you can begin to shoot. Try shooting “all the way through in a wide shot, and then just repeating certain sections for medium shots, close-ups and cutaways.” When shooting, slates are great tools for identification to help organize various shots. Additionally, camera logs document specific scenes and descriptions in detail, providing the editor with more organization and structure.

As part of your shooting plan, it often helps to create shooting scripts and storyboards.

  • shooting script is a list of what you’re going to shoot and how you will shoot it.
  • “A storyboard is a series of simple drawings… representing the shots you plan to make.” Creating a storyboard will help better visualize what you will shoot. it’s like a “free practice shoot—and it doesn’t take up any film!”

Sometimes, there are advantages to shooting out of sequence. For example, it’s best to prioritize the shots you plan to get and shoot all your wide shots at once instead of moving the camera, lights, subject(s), and other elements back and forth between shots for the sake of the natural order of the sequence. Adjusting the camera and other elements multiple times can easily result in noticeable differences within shots that are intended to appear the same.

In film and video, communication is key. It’s important for everyone, including directors, camerapersons, assistants, and subjects to be on the same page and feel included in production and the overall project. Although there will always be a point person, involving each person in the process maintains the objective and makes the work meaningful for all parties. 

Occasionally, you may find yourself working in uncontrolled situations with unexpected factors to consider. Nevertheless, “you can still shoot great sequences—you just have to hustle… to get them.”

Research to Inform

Well-Produced Video Storytelling

My Brother Jordan

Justin Robinson’s My Brother Jordan is an independent documentary that chronicles his brother Jordan’s life and death and paints the bond of brotherhood between Jordan and Justin.” This documentary was created with “the help of 102 interviews and 300+ home videotapes, equaling 450+ hours of footage.” It depicts the story of Jordan’s life and the impact of his death on his loved ones and community. Justin, a film director by profession, did a phenomenal job creating a compelling storyline and documenting the accounts of the interviewees through tons of photos and home footage. 

As Justin narrates Jordan’s life story alongside other subjects, we hear clear, crisp, well-balanced audio, paired with appropriate b-roll, intentional uses of lighting and framing of subjects, and subtitles and lower thirds. The footage of Justin speaking at the beginning, end, and throughout the documentary serves as a stand-up. As an independent piece, My Brother Jordan came together very nicely. The trailer shares that this documentary took 8 years to complete, and it is evident that Justin was intentional about publishing an inspiring and well-produced film in homage to his brother Jordan.

90-Day Fiancé and Reality TV

Although 90-Day Fiancé is categorized as reality tv, shows like this often incorporate short storytelling sequences in which the featured subjects narrate their lives and backstories, segueing into how their unique relationships began, before jumping back into reality. These sequences display subjects in their homes and natural settings, including clips of them performing their daily practices as they speak about it. Since these sequences serve as introductions, they rely heavily on b-roll including photos and footage that support the narrated backstory. 

True Crime and News Stories

True Crime shows and in-depth news stories including ABC’s 20/20Dateline NBC, CBS’s 60 Minutes, and more often consist of an appointed news reporter narrating a story. These reportings may include real or dramatized footage or audio to help reenact the story. Furthermore, they often incorporate clips of victims sharing their personal accounts. Nevertheless, these types of storytelling videos often begin and end with narration provided by a specific news reporter, in this case, Diane Sawyer.

Room for Improvement

Personal Documentaries produced by YouTubers

Over the years, I have noticed a trend of YouTubers publishing their own amateur documentaries or video biographies. These films have a varied range considering sound, audio quality, editing, lighting, storyline, etc. In the examples above, Carmen’s documentary trailer contains a storyline that is complicated to follow. This is accompanied by dramatic music, quick editing, unique transitions, and fluctuating soundbites, sound effects, and audio quality. Although the storyline, b-roll, lighting, and framing are somewhat there, the way everything was pieced together creates a feeling of confusion. De’arra’s documentary feels a bit more professional, however, the audio quality and lighting are inconsistent. At times, the narration and b-roll feel drawn out.

Film and Video in Nigeria

Netflix’s Skin explores beauty standards in Nigeria, pressures to conform, and skin bleaching as a practice in African culture. As a Nigerian-American, I have always noticed a stark difference between film and video production in Nigeria and America. Similar to any other country, Nigerian cinema has grown tremendously over the years, however, there’s room for improvement. Although it is not on Netflix, Skin’s official trailer includes various soundbites that sound amateur as well as professionally produced. These soundbites are placed back-to-back, making the difference in the audio quality evident to viewers.

Create

Pre-Production for my Own Story

This week, I started planning to tell my own story in video format. I am focusing on creating a mini-documentary that shares the journey of a young couple, my friends Krystal and Chima, who met in undergrad, started dating in grad school, got engaged on their master’s graduation day, and started planning their wedding for March 2020. 15 days before their wedding, amid a pandemic, a nationwide quarantine and lockdown began. With their wedding quickly approaching, Krystal and Chima were forced to make the biggest decision of their lives. 

Over the weekend, I spend 3.5 hours interviewing Krystal and Chima alongside my production assistant, aka my husband. To guide my interviews, I came up with a list of 80 questions, crafted by myself and sourced from various blog posts. With a lot of footage to work with, I am currently working through the best way to accurately share their story in under 5 minutes.

In my mini-doc, Krystal and Chima will be the source of all narration. I plan to start with a quick backstory into the nature of Krystal and Chima’s relationship, using their solo interviews to recount their story. I will then transition into the wedding that they planned for vs the wedding they had, using footage from their joint interview. For b-roll, I’ll incorporate photos and videos from the periods they refer to, including their proposal, wedding, and selfies/clips taken throughout their relationship. I also plan to return to their home this next week and capture more natural footage of them and relevant elements they may have around the house. 

I am excited about the documentary, yet nervous about the time limit for the final video, as their testimonies were really inspiring and uplifting. Generally, I tend to be (too) thorough in my work, but I’m hoping that focusing on the pandemic’s impact on their wedding day will help dictate how long all other parts of the storyline should be. Here’s some rough/raw footage from their interviews. (Excuse the buzzing in one clip; thank goodness for main and backup audio!):