It is precisely because there is so much richness in video data, and often so many hours of raw footage, that editing and placing ethnographic video in context for viewers are important, especially in an industry setting. In a one-hour report of research findings to a roomful of busy, multi-tasking colleagues, video clips are necessarily brief and are carefully chosen for maximum relevance: they need to have as much of an impact as possible in a short period of time. In most technology companies, data are typically presented in text, graphs, and diagrams. The introduction of video clips into most meetings in this kind of setting results in a quiet, attentive, captivated audience that temporarily puts multi-tasking aside.

Another strength of using video is its power to keep research findings fresh. After weeks and months of analyzing field work data, distilling thoughts, synthesizing themes, creating documents, and sorting through images, the people who were visited and interviewed, and upon whose lives the data are based, can get lost. Video transports the researchers back to their weeks in the field, and it vividly portrays the heart and soul of the study, the participants, to colleagues.

It is ironic that I am using words to describe the rich depth of meaning and strong impact that visuals can provide. Clearly, it would be more effective to make these points visually, but ethical and legal considerations come into play when considering putting images of study participants on the Web.

The methods described in this paper are limited to the most common video presentation styles currently used at Intel Corporation. Since PowerPoint* is both the industry and Intel standard for presenting findings, it is practical and efficient to embed video clips within a PowerPoint slide presentation. However, this is far from the only way to view ethnographic video.

While short clips work best in a typical one-hour corporate meeting, Domestic Designs and Technologies Research, and other multi-disciplinary research groups at Intel Corporation, engage our colleagues in half-day and all-day workshop and brainstorming sessions for which longer, more immersive video presentations are appropriate and provocative.

Filmmakers and researchers have been experimenting with new ways of using video to impart information for years. In 1998, Rachel Strickland's multi-station, interactive Portable Effects exhibit used video playback and video capture to teach visitors about their own "nomadic design" practices while being immersed in the practices of others [9].

Anthropologist Jay Hasbrouck's master's thesis about a collective of gay men ("radical faeries") living on a commune in a remote area of New Mexico was presented as a video installation with multiple screens and monitors presenting portraits of his research participants and their daily lives [10].

At Interval Research Corporation in the late 1990s I oversaw a project to log, code, and digitize over 250 hours of ethnographic research video, and 10,000 photos from multiple projects. The video was linked to an internal Web site and stored in a video "jukebox" that was searchable from any computer in the company [11].

What will come next for ethnographic video in industry? Will YouTube inspire EthnoTube? Will video podcasts push research findings to all interested colleagues anywhere in the world? Will the relative ease and affordability of video gear and production techniques lead to more participant-based video research in which the subjects themselves produce visuals about their own lives?

New and exciting uses of video are exploding on the Web, and in our homes. Intel and other innovative companies need to continue taking advantage of this powerful communication tool within the corporate setting.