First, I apologize it’s been so long since my last post, and this third segment in particular is a long time coming. With my sarcasm lever set on “high”, permit me to begin. . .
So you’ve run out and amassed your pile of video gadgets and gewgaws. Now what?
Well, it’s time to go shoot something! Shoot what, you ask? I dunno. You’re the one with that load of equipment at your feet, you must have bought it for some reason!
Seriously though, you probably have an idea for what you want to shoot. Maybe it’s a video blog? Maybe you want to record a testimonial for your product or service? Maybe it’s a child’s soccer match? Whatever it is, there are some basic things you need to know in order to get the most mediocre results possible!
First of all, learn about your camera. Learn how to operate it efficiently. Learn where the controls are (often some of the most useful and fundamental controls are buried in the menus). Learn how it works with your microphones and other accessories. Learn your camera’s capabilities. Learn its limitations.
Got it? Okay.
Then here’s the deal; cameras are all about light. Cameras can’t do anything without light. Nothing. Nada. Zip. You’ve gotta have light.
If you’re shooting outside in the daytime, unless it’s really overcast, you probably have enough light to do just about anything (maybe even too much light – yes, it happens). If you’re indoors, however, light becomes very scarce very quickly. If you’re lucky, there is a great big bank of windows where you want to shoot. But if natural light is insufficient or unavailable, you are going to need a lot of artificial light. Enter those halogen work lights we talked about.
There are two approaches to lighting a “scene” (the subject; what’s in front of the camera). The first approach is only concerned with getting enough light on the scene that the camera can work properly. With too little light, the camera will try to compensate by “gaining up” the sensitivity of the imaging chip which creates a lot of noise, or “grain” in the image. It just looks muddy and awful. Dim light also makes it difficult for the camera to focus when in auto-focus mode.
The second approach considers the quality of the light as well as the quantity. Quality of light revolves more around the light’s aesthetics. Do you want the scene to be harshly lit with direct light from a single direction, or would you prefer soft shadows and pleasing glows? Giving the scene a specific “look” requires a lot more attention to detail. Hollywood film crews can spend hours or even days getting the lighting of a particular scene to look just right.
Being that our focus here doesn’t go beyond mediocre, the first approach is likely what you’ll go with. If you want to achieve better lighting techniques, there are hundreds of books and articles on the subject. But you’re still going to have to experiment a lot and you’ll probably end up investing money in at least some minimal control methods.
If nothing else, try to “bounce” the light as opposed to shining the instrument right at the subject. Aim it upward toward the white ceiling and let it fill the room, or at a light colored wall for some pleasant side-lighting. You could even use poster board or foam core (just don’t get it too close to the hot lights). Using more than one light will even out the scene and reduce harsh, overly dramatic shadows.
As you’re setting up the lighting, put your camera on a tripod and turn it on. (You bought the tripod – learn how to use it.) Look “through the camera’s eye” as you’re setting up the scene. The human eye doesn’t see light the same way cameras do. If you want to get mediocre results, it’s imperative to use the camera as a guide.
Once you have the scene lit, you can start worrying about sound.
Hopefully you’ve selected a location fairly free of noise. Again, microphones “hear” differently the human ear. Noise your mind simply blocks out in real life will become annoyingly obvious when listening to a recording.
So set up the microphone (or microphones) you intend to use, plug in the headphones, and listen to what the camera hears. If you can hear traffic noise in the headset, just assume you’ll be able to hear it in the recording. Eliminate as much noise as you can.
Hear the refrigerator? Unplug it.
Hear the furnace? Turn down the thermostat.
Hear people talking in an adjacent room? Kindly ask them to move their conversation elsewhere.
Once you have a quiet, well lit scene, you can start recording. Don’t expect your first one to turn out flawlessly. It likely won’t even be mediocre. But it’s a start. Like your piano teacher always said – practice, practice, practice!
Up next: DIY Video Part IV – Editing Your Masterpiece… er, Mediocrepiece!
Thursday, January 7, 2010
Friday, October 23, 2009
Look Ma! I'm on The Trike Show!
Justin Foster of Tricycle - a local branding agency - asked me to be a part of his weekly podcast. Of course, I accepted!
We covered a lot of topics, though Justin does seem to have this almost freakish obsession with Jessica Biel.
Click here to listen to The Show!
P.S. - Early in the show I say I "used to be" a geek. The truth is, I still am! Just thought I'd set the record straight.
We covered a lot of topics, though Justin does seem to have this almost freakish obsession with Jessica Biel.
Click here to listen to The Show!
P.S. - Early in the show I say I "used to be" a geek. The truth is, I still am! Just thought I'd set the record straight.
Boise Young Professionals Events
October
23 - 2009 Annual Celebration: "Hollywood"
27 - Lounging Series with Pete Gombert, Balihoo
27 - Washington Trust Bank's Partnership Earnings Program Kick-off BBQ - Contact Amy at AWirshing@watrust.com for more info
30 - BYP Halloween Carnival
November
4 - BYP Monthly Luncheon13 - Happy Hour at Lobby
October 23 - 2009 Annual Celebration "Hollywood"
When: Friday, October 23, 2009
Where: The Grove Hotel
Time: 6:00 - 10:00 p.m.
Cost: BYP Members $55 / Non BYP Members $70
Table of 10: $600
Come join your fellow BYP members as we celebrate 3 years of success. This years Annual Celebration will start with a walk down the Red Carpet as guests enter the Hollywood themed event.
The night will begin with a silent auction, with proceeds going to further expand BYP's mission of connecting, empowering, and engaging young professionals in the Treasure Valley. A night in Hollywood will top off with awards being handed out to the Young Professional of the Year, and Next- Generation Best Place to Work. Like all Hollywood awards, the after party will be one to remember with live music and dancing.
Congratulations to the following nominees! The award winners will be announced at the Annual Celebration.
Young Professional of the Year Nominees:
Tara Cheney | CBH Homes
Jessica Flynn | Red Sky Public Relations
Ryan Froehlich | D.L. Evans Bank
Lincoln Graves | KIVI – TV
Lauren Haber | Idaho Business Review
Jennifer Poole | Idaho Industrial Commission/Downtown
Michelle Ross | St. Luke’s Boise
Janelle Wilson | Boise City Department of Arts & History
* * *
Next-Generation Best Place to Work Nominees:
CBH Homes
Hawley Troxell
Hewlett-Packard Company
Washington Trust Bank
Presenting Sponsor:
October 27 - BYP Lounging Series with Pete Gombert, Balihoo
When: October 27, 2009
Where: Balihoo, 404 S. 8th St., Ste. 300, Boise, ID
Time: 5:30 p.m.
Cost: Free for BYP Members / $15 for Non BYP Members
Come join your fellow YPs for this great Lounging Series opportunity! Starting at 5:30 p.m., a tour of Balihoo will be given, followed by a presentation given by Pete Gombert, CEO, Balihoo.
Pete is an entrepreneur and visionary with extensive experience building software companies. He has been the founder or co-founder of three software-based businesses and has proven abilities to establish the vision and foster the growth necessary to return significant value to shareholders.
Pete’s software leadership experience spans multiple industries to include energy, finance, and media. Prior to Balihoo, Pete founded Enerx, a software company focused on the energy trading space. Upon selling the company to KW International, a London-based company that builds trading and risk management software for energy markets, he became Executive Vice President of International Operations. Previously, Pete was on the founding team of a financial services software and services firm. Pete holds a bachelors degree in accounting from Villanova University. In any spare time he finds, Pete can be found mountain biking in the Boise foothills and skiing in the central Idaho mountains.
Presented by:
October 30 - BYP Halloween Carnival
BYP is joining efforts with the YMCA this year to host a Halloween Carnival! The event will take place on Friday, October 30th from 6:00 - 8:00pm. There will be "carnival" style activities for kids of all ages, but we are looking for more. If you have an idea for an activity that you'd be willing to coordinate or would like to volunteer that night, please email michellemross@hotmail.com no later than October 21st. We need a minimum of 25 volunteers to accommodate all the kids and families! Although the main event is from 6:00-8:00, volunteers will be needed for set-up (approximately 4:00) and clean-up (should be done by 9:00). This is a family-friendly event; dressing up in encouraged, but not required!
Click here for the informational flyer.
If you are interested in volunteering, or want more information, please email Michelle at michellemross@hotmail.com.
November 4 - BYP Monthly Luncheon
Date: November 4, 2009
Location: Boise Chamber Offices, 250 S. 5th St. Boise, 83702, Lower Level Conference Room
Time: 11:30 - 1:00 p.m.
Seating Capacity: 90
Cost: $10 BYP Members / $25 Non BYP Members
Late Registration: $5 increase on October 30th at Noon.
Each month BYP will host a luncheon designed to connect its members and provide opportunities to learn about upcoming events and happenings in the Boise area. These events are a great way to meet other local young professionals, have a great meal, and learn about what’s happening with BYP!
Sponsored by:
November 13 - BYP "Happy Hour" at Lobby
760 Main St., Boise, 83702
(formally Lush)
5:00 - 7:00 p.m.
More details to come!
Friday, September 4, 2009
DIY Video Part II - Accessories for the Mediocre Shoot
Hello all,
This is the next installment of the very tongue-in-cheek series, DIY Video Part II - Accessories for the Mediocre Shoot.
TRIPOD
I can't stress enough how important it is to use a tripod. I'd almost like to suggest you purchase a tripod BEFORE you purchase a camera. There is no excuse not to have one.
Good tripods are not cheap. A decent fluid head tripod will run you a couple grand. That's right; about two-thousand bucks. It's easy to drop $7-8K without breaking a sweat. And they're worth every penny.
However, we're talking mediocre here, so you can probably sneak out for a couple hundred or so. Maybe less. You probably won't want to attempt many pans (left-right) or tilts (up-down) because the tripod won't permit smooth moves. It will be too light for one, and the friction ("drag") of the mechanism will probably be sticky and kludgy. The head may even be wobbly if you go too cheap.
But do buy a tripod. Even if you only to use it for stationary shots.
POWER SOURCES
Buy a second battery. You will need to use it frequently however to keep it working well. Today's Li-Ion batteries don't do well sitting unused for long periods of time.
If you're going to be setting the camera up for a long period while it is stationary and you have access to A/C power, plug it in. No reason to risk running out of power in the middle of an important shot.
For longer on-location shoots, you may want to invest in a power inverter for your vehicle. They are relatively inexpensive these days and it might save the day if you're in a place where wall power is not readily available.
SKYLIGHT/UV FILTER
Please buy a skylight (1A) or UV (ultraviolet) filter to thread on over the front of the camera's lens. Most mediocre cameras have a smaller diameter filter (stated in millimeters) and you can pick up a cheap filter for less than $20. When your finger accidentally touches the front of the camera - and it will - you'll then have a smudge on an easy-to-clean glass filter as opposed to the fragile optical coating of the front lens element. It also protects the lens from debris and mechanical impact (hammers, chainsaws... whatever you're in to).
As an aside, the symbol for filter size (diameter) is ⌀.
While we're on the subject, put a lens cloth and some cleaning solution in your bag. I also like to have a can of compressed air handy. Speaking of bags. . .
CAMERA LUGGAGE
You should keep your camera protected in a hard-sided case or a padded camera bag. I prefer Pelican hard cases (it's a brand) but you may not want to spend that much. Decent soft cases can be had as well. This really comes down to personal preference and how much stuff you want to carry. Just make sure you have room for your camera and all of the above equipment (exclusive of the tripod) at the very least.
MICROPHONES
The possibilities are endless, but you need to have - at least - a microphone to collect ambient sound, and a microphone to be used for voice. DO NOT be misled in to thinking that you can use ANY camera's built-in microphone to collect sound. Yes, they do work, but they do not have the sensitivity, directionality, or dynamic range to provide satisfactory results except under the most ideal conditions.
A shotgun mic is the best for ambient sound. Shotgun mics are very sensitive, and very directional. Some consumer cameras offer OEM accessories for the "hot shoe", and they often include a shotgun mic. Those are okay, but it would be much better to use a shotgun mic from a third party like Sennheiser or Audio-Technica, for example. They'll be a little larger and slightly more difficult to mount on a small camera, but well worth the extra effort.
For capturing voices, during an interview for instance, you will need a lavalier ("lapel") microphone. Wired lavs are fine, but I would recommend wireless if you intend to use it frequently or at distances more than about 10 feet. You also won't see the wire on a full-length shot. As with anything you get what you pay for, so if your budget is small, you may want to stick with a wired mic.
You will also need to consider the connectors. If a consumer-level camera has an external microphone input, it will likely be a 1/8" stereo mini jack (like the headphone connector on an MP3 player). So the microphone will need to either come pre-wired with that style of plug, or you will need to purchase an adapter. You will also need a "Y" cable in order to record from both the shotgun and lavalier mic simultaneously.
A handheld (or "stick") mic is also handy to have for two-person on-camera interviews or more run-and-gun type shoots. A handheld dynamic mic is fairly inexpensive. If you can, throw one in your kit.
And don't forget to buy cables. Cables are one thing you don't need to spend a fortune on, though when buying XLR cables, I prefer Neutrik connectors.
LIGHTING
What can I say... any way you slice it, decent lighting equipment is expensive. Even the "cheap stuff" is expensive. The reason for that is because it is arguably the most critical component to obtaining aesthetically pleasing video.
However, we are talking mediocre, so the most critical thing is that you have enough light on the subject so that the camera can see it. Aesthetics are a secondary consideration. Most do-it-yourselfers end up with some variation of what I like to call "The Home Depot Shop Light Kit". They meet three basic requirements; (1) they provide quite a bit of light, (2) some units have their own tripod so they can be positioned where needed, and (3) they're cheap.
The biggest down side to the solution is that you are unable to gain control over the light without a lot of additional adaptation. Film- and video-specific lighting instruments are designed to easily accept wide variety of lighting modifiers like diffusion, color-correcting and effect gels, soft boxes, scrims, and cucoloris, all of which have important rolls in various situations.
Proper lighting equipment is also much easier to use as most kits quickly break down to fairly small components, and they are easily transported and stored.
But simple halogen work lights will provide basic illumination, it just won't necessarily be pretty or convenient.
The above is certainly not a comprehensive list of items, but it's the minimum amount of gear you'll need for a mediocre job.
Next up in the series: "DIY Video Part III - I've Got My Stuff... Now What"
This is the next installment of the very tongue-in-cheek series, DIY Video Part II - Accessories for the Mediocre Shoot.
TRIPOD
I can't stress enough how important it is to use a tripod. I'd almost like to suggest you purchase a tripod BEFORE you purchase a camera. There is no excuse not to have one.
Good tripods are not cheap. A decent fluid head tripod will run you a couple grand. That's right; about two-thousand bucks. It's easy to drop $7-8K without breaking a sweat. And they're worth every penny.
However, we're talking mediocre here, so you can probably sneak out for a couple hundred or so. Maybe less. You probably won't want to attempt many pans (left-right) or tilts (up-down) because the tripod won't permit smooth moves. It will be too light for one, and the friction ("drag") of the mechanism will probably be sticky and kludgy. The head may even be wobbly if you go too cheap.
But do buy a tripod. Even if you only to use it for stationary shots.
POWER SOURCES
Buy a second battery. You will need to use it frequently however to keep it working well. Today's Li-Ion batteries don't do well sitting unused for long periods of time.
If you're going to be setting the camera up for a long period while it is stationary and you have access to A/C power, plug it in. No reason to risk running out of power in the middle of an important shot.
For longer on-location shoots, you may want to invest in a power inverter for your vehicle. They are relatively inexpensive these days and it might save the day if you're in a place where wall power is not readily available.
SKYLIGHT/UV FILTER
Please buy a skylight (1A) or UV (ultraviolet) filter to thread on over the front of the camera's lens. Most mediocre cameras have a smaller diameter filter (stated in millimeters) and you can pick up a cheap filter for less than $20. When your finger accidentally touches the front of the camera - and it will - you'll then have a smudge on an easy-to-clean glass filter as opposed to the fragile optical coating of the front lens element. It also protects the lens from debris and mechanical impact (hammers, chainsaws... whatever you're in to).
As an aside, the symbol for filter size (diameter) is ⌀.
While we're on the subject, put a lens cloth and some cleaning solution in your bag. I also like to have a can of compressed air handy. Speaking of bags. . .
CAMERA LUGGAGE
You should keep your camera protected in a hard-sided case or a padded camera bag. I prefer Pelican hard cases (it's a brand) but you may not want to spend that much. Decent soft cases can be had as well. This really comes down to personal preference and how much stuff you want to carry. Just make sure you have room for your camera and all of the above equipment (exclusive of the tripod) at the very least.
MICROPHONES
The possibilities are endless, but you need to have - at least - a microphone to collect ambient sound, and a microphone to be used for voice. DO NOT be misled in to thinking that you can use ANY camera's built-in microphone to collect sound. Yes, they do work, but they do not have the sensitivity, directionality, or dynamic range to provide satisfactory results except under the most ideal conditions.
A shotgun mic is the best for ambient sound. Shotgun mics are very sensitive, and very directional. Some consumer cameras offer OEM accessories for the "hot shoe", and they often include a shotgun mic. Those are okay, but it would be much better to use a shotgun mic from a third party like Sennheiser or Audio-Technica, for example. They'll be a little larger and slightly more difficult to mount on a small camera, but well worth the extra effort.
For capturing voices, during an interview for instance, you will need a lavalier ("lapel") microphone. Wired lavs are fine, but I would recommend wireless if you intend to use it frequently or at distances more than about 10 feet. You also won't see the wire on a full-length shot. As with anything you get what you pay for, so if your budget is small, you may want to stick with a wired mic.
You will also need to consider the connectors. If a consumer-level camera has an external microphone input, it will likely be a 1/8" stereo mini jack (like the headphone connector on an MP3 player). So the microphone will need to either come pre-wired with that style of plug, or you will need to purchase an adapter. You will also need a "Y" cable in order to record from both the shotgun and lavalier mic simultaneously.
A handheld (or "stick") mic is also handy to have for two-person on-camera interviews or more run-and-gun type shoots. A handheld dynamic mic is fairly inexpensive. If you can, throw one in your kit.
And don't forget to buy cables. Cables are one thing you don't need to spend a fortune on, though when buying XLR cables, I prefer Neutrik connectors.
LIGHTING
What can I say... any way you slice it, decent lighting equipment is expensive. Even the "cheap stuff" is expensive. The reason for that is because it is arguably the most critical component to obtaining aesthetically pleasing video.
However, we are talking mediocre, so the most critical thing is that you have enough light on the subject so that the camera can see it. Aesthetics are a secondary consideration. Most do-it-yourselfers end up with some variation of what I like to call "The Home Depot Shop Light Kit". They meet three basic requirements; (1) they provide quite a bit of light, (2) some units have their own tripod so they can be positioned where needed, and (3) they're cheap.
The biggest down side to the solution is that you are unable to gain control over the light without a lot of additional adaptation. Film- and video-specific lighting instruments are designed to easily accept wide variety of lighting modifiers like diffusion, color-correcting and effect gels, soft boxes, scrims, and cucoloris, all of which have important rolls in various situations.
Proper lighting equipment is also much easier to use as most kits quickly break down to fairly small components, and they are easily transported and stored.
But simple halogen work lights will provide basic illumination, it just won't necessarily be pretty or convenient.
The above is certainly not a comprehensive list of items, but it's the minimum amount of gear you'll need for a mediocre job.
Next up in the series: "DIY Video Part III - I've Got My Stuff... Now What"
Wednesday, August 26, 2009
Trade Show Don'ts
I don't normally get in to general "marketing" tips as that is not my area of expertise and I don't pretend otherwise. However, having manned a few trade show booths in my day and being a fairly observant human, I have come up with a few trade show "don'ts". I can't tell you everything you should do, but I do have a good feel for things that you should not.
(1) Don't try to attract everyone. - Even if you are a restaurant, you have a certain target market. You should gear your booth to be most appealing to those particular people.
(2) Don't use games. - This goes back to #1, above. At a recent trade show, our neighbors had a putting green. They were not representing a golf course nor were they a sports equipment manufacturer or a pro shop, so the putting green had nothing to do with their business. In addition, they were offering giveaways for a hole in one. They were encouraging anyone who walked by - including children - to take a putt.
What happened was they wound up with a line of people at the booth waiting to putt, taking their giveaways, costing them time and money - and maybe (very maybe) 1 in 25 were qualified leads. Granted, what they were selling was a high-dollar item, but they could have been a lot more focused in generating traffic and talking with (closing?) the more qualified leads instead of wasting time with people that had no interest in what they were selling.
If you have a game, make sure it is (a) relevant to what you do and (b) attracts the type of client with which you are looking to connect.
(3) Make sure drawings have an upside for you. - Again... attracting the world. This one bit me personally - and I walked in to it with my eyes wide open. At a recent show, we offered a giveaway... an item that almost anyone could use. We had the obligatory fishbowl encouraging folks to drop their card in. At the end of the day, we had a bunch of cards from people that would never be clients. Maybe a few percent were leads worth chasing - which I did - but none of them converted. Wasted money.
If I had it to do over again I would change something. Either I would have only encouraged those "qualified" folks to fill out a contact card for follow-up which in-turn entered them in the drawing, or I would have made the drawing a percentage discount or fixed dollar amount to be used for our services. Either of which would have significantly reduced the number of useless leads.
Needless to say, I will be considerably more careful with giveaways in the future.
(4) Don't get excited about candy. - More world appeal. You'll have everyone and his dog trailing by and munching your candy, but don't expect to get a lot out of it other than a casual "hello". It's okay to do it, but keep your expectations low.
(5) Don't sit behind a table. - Nothing amazes me more than a company spending hundreds or thousands on a trade show booth, just to plop down behind a table and look disinterested. That not only screams "go away, I don't want to be bothered", but it projects a bad attitude toward those would-be clients. You don't have to act like a carnival barker with the Barnum & Bailey Circus, but at least try to remain standing, smile, and make eye contact with the visitors.
Also, push the damn table to the side for hell's sake, it acts like a barrier (basic "us versus them" psychology). Welcome people to come in to your booth and speak with you. If you are not actively talking with someone, be out at the front of your booth where visitors can see you. It's okay to have a chair and sit down occasionally, especially if you're alone, but don't sit in it all the time - take a brief rest, then get back out there.
(6) Don't have a boring booth. - At most smaller, local shows, it doesn't take much to make your booth stand out. I like to do unexpected things, like using unique furniture.
Banner stands are also an inexpensive but colorful way to dress up your booth (but if you're not very "artistically inclined", hire a graphic designer to help you develop something sexy).
Use lamps or other lights to catch people's eyes. Movement is also good. If you have a video, set up a monitor or television and keep it rolling.
(7) DO NOT use hand-drawn signs (unless that's you're business) - This seems obvious, but I've seen people use black marker on newsprint before. Not cool. It screams unprofessional.
Another common mistake is a cluttered sign with too much going on. Have a clean, simple, easy-to-read message. You can use other collateral like brochures and fact sheets to convey additional information when you are speaking to a good prospect. You want to draw people in with your signage, not give them 10 reasons why they don't need you from 100 yards away.
(8) Don't leave your booth unattended. - Few things look less professional than an empty booth. But if you're a solo act, it can be difficult not to leave. You want to use the restroom, grab a snack, or walk through the show yourself. In those situations, I've asked business associates or family members to take a brief shift to spell me. They may not be familiar with all the ins and outs of my business, and may not be able to answer every question, but they are a live human and they can obtain the needed information so that I can follow up with a visitor if they seemed interested. It also makes sure that your booth is not vacant.
Don't leave your booth empty.
(9) Don't start tearing down early. - Some of my best prospects have walked by at the end of the show. Think about it. The people walking through the show close to the end are probably truly interested in seeing what the vendors had to offer. They likely knew they were late (they may not have been able to attend earlier) but they still made the effort to come to the show. It would be disappointing to show up to a bunch of empty booths. Don't give the show a black eye by leaving early.
(10) Don't forget your neighbors. - I like to chat, so it amazes me when I see rows of people sitting right next to each other, but speaking with no one. Don't forget to engage with your fellow trade show vendors. You never know... you might find a new client. Besides, it's a great way to pass the time during slower periods.
So there you go. My words of wisdom for the day.
(1) Don't try to attract everyone. - Even if you are a restaurant, you have a certain target market. You should gear your booth to be most appealing to those particular people.
(2) Don't use games. - This goes back to #1, above. At a recent trade show, our neighbors had a putting green. They were not representing a golf course nor were they a sports equipment manufacturer or a pro shop, so the putting green had nothing to do with their business. In addition, they were offering giveaways for a hole in one. They were encouraging anyone who walked by - including children - to take a putt.
What happened was they wound up with a line of people at the booth waiting to putt, taking their giveaways, costing them time and money - and maybe (very maybe) 1 in 25 were qualified leads. Granted, what they were selling was a high-dollar item, but they could have been a lot more focused in generating traffic and talking with (closing?) the more qualified leads instead of wasting time with people that had no interest in what they were selling.
If you have a game, make sure it is (a) relevant to what you do and (b) attracts the type of client with which you are looking to connect.
(3) Make sure drawings have an upside for you. - Again... attracting the world. This one bit me personally - and I walked in to it with my eyes wide open. At a recent show, we offered a giveaway... an item that almost anyone could use. We had the obligatory fishbowl encouraging folks to drop their card in. At the end of the day, we had a bunch of cards from people that would never be clients. Maybe a few percent were leads worth chasing - which I did - but none of them converted. Wasted money.
If I had it to do over again I would change something. Either I would have only encouraged those "qualified" folks to fill out a contact card for follow-up which in-turn entered them in the drawing, or I would have made the drawing a percentage discount or fixed dollar amount to be used for our services. Either of which would have significantly reduced the number of useless leads.
Needless to say, I will be considerably more careful with giveaways in the future.
(4) Don't get excited about candy. - More world appeal. You'll have everyone and his dog trailing by and munching your candy, but don't expect to get a lot out of it other than a casual "hello". It's okay to do it, but keep your expectations low.
(5) Don't sit behind a table. - Nothing amazes me more than a company spending hundreds or thousands on a trade show booth, just to plop down behind a table and look disinterested. That not only screams "go away, I don't want to be bothered", but it projects a bad attitude toward those would-be clients. You don't have to act like a carnival barker with the Barnum & Bailey Circus, but at least try to remain standing, smile, and make eye contact with the visitors.
Also, push the damn table to the side for hell's sake, it acts like a barrier (basic "us versus them" psychology). Welcome people to come in to your booth and speak with you. If you are not actively talking with someone, be out at the front of your booth where visitors can see you. It's okay to have a chair and sit down occasionally, especially if you're alone, but don't sit in it all the time - take a brief rest, then get back out there.
(6) Don't have a boring booth. - At most smaller, local shows, it doesn't take much to make your booth stand out. I like to do unexpected things, like using unique furniture.
Banner stands are also an inexpensive but colorful way to dress up your booth (but if you're not very "artistically inclined", hire a graphic designer to help you develop something sexy).
Use lamps or other lights to catch people's eyes. Movement is also good. If you have a video, set up a monitor or television and keep it rolling.
(7) DO NOT use hand-drawn signs (unless that's you're business) - This seems obvious, but I've seen people use black marker on newsprint before. Not cool. It screams unprofessional.
Another common mistake is a cluttered sign with too much going on. Have a clean, simple, easy-to-read message. You can use other collateral like brochures and fact sheets to convey additional information when you are speaking to a good prospect. You want to draw people in with your signage, not give them 10 reasons why they don't need you from 100 yards away.
(8) Don't leave your booth unattended. - Few things look less professional than an empty booth. But if you're a solo act, it can be difficult not to leave. You want to use the restroom, grab a snack, or walk through the show yourself. In those situations, I've asked business associates or family members to take a brief shift to spell me. They may not be familiar with all the ins and outs of my business, and may not be able to answer every question, but they are a live human and they can obtain the needed information so that I can follow up with a visitor if they seemed interested. It also makes sure that your booth is not vacant.
Don't leave your booth empty.
(9) Don't start tearing down early. - Some of my best prospects have walked by at the end of the show. Think about it. The people walking through the show close to the end are probably truly interested in seeing what the vendors had to offer. They likely knew they were late (they may not have been able to attend earlier) but they still made the effort to come to the show. It would be disappointing to show up to a bunch of empty booths. Don't give the show a black eye by leaving early.
(10) Don't forget your neighbors. - I like to chat, so it amazes me when I see rows of people sitting right next to each other, but speaking with no one. Don't forget to engage with your fellow trade show vendors. You never know... you might find a new client. Besides, it's a great way to pass the time during slower periods.
So there you go. My words of wisdom for the day.
Monday, August 3, 2009
DIY Video Part I - Selecting a Mediocre Camera
As promised, here is a post regarding how to select a video camera. I'm assuming that most folks don't want to spend a fortune, so I've kept the details on the lower end of the spectrum.
FORMAT
The camera's recording format is probably the first decision to consider since that will quickly narrow the field of options.
First you need to decide whether you want to record in standard definition or high definition. If your video will only be placed on the web, you really don't need high definition. However, the cost between standard and high definition equipment is almost negligible these days, so you might as well go big.
It also depends on to what medium you wish to record. If you like tape, then you're options are limited to either mini-DV (standard def) or HDV (high def) formats.
The other options are hard drive, optical disc (like a small recordable DVD), or solid state flash memory. Often cameras that use non-tape-based recording mediums will allow you to record video in a number of formats (codecs) or resolutions.
Most consumer cameras use either an MPEG-4 or MPEG-2 compression codecs (a way of "encoding" the video data so that it uses less memory). Some codecs are really efficient (record high quality video in a small space), and others not so much (either quality or size may be compromised).
I've seen very good results with cameras using the AVCHD H.264 (MPEG-4) codec. Compact file size with good visual clarity and color rendition.
I would also lean toward flash-based cameras. If you tend to be hard on electronics (like your cell phone) I would go solid state. Hard drive and optical disc mediums are more fragile and generally a bigger pain in the butt to use. However, both the optical disc and tape mediums are easier to archive. If you use flash cards or hard drives, the video data must be either archived in separate location (another optical disc or hard drive somewhere) or deleted permanently.
SENSORS
The sensor is what "sees" the image you are recording. The lens and sensor make up the camera's "eye". The type and number of sensors in a camera can vary. There are 2 types, CMOS and CCD.
CMOS is considered the "newer" technology. They use less power and are less expensive to manufacture, but are considered by many to produce an inferior image. Most manufacturers apart from Sony have migrated almost completely to CMOS sensors in their consumer offerings.
CCD's require more power, but as a rule, are able to obtain a better image in low light conditions. Sony mostly uses CCD's. This is likely because Sony is one of the largest producers of CCD devices.
Ultimately, CCD vs. CMOS makes little difference in consumer grade cameras. However, the number of sensors does. Most inexpensive cameras have 1 sensor. More expensive models have 3; one for each of the colors red, green, and blue. In these so-called "3-chip" cameras, the lens focuses the light it collects on a prism, dividing the light into its component colors. And this, with the help of a number of other technologies, ultimately creates a better recorded image.
Most cameras will have the megapixel value of the sensor proudly branded on the outside of the camera. You can pretty much ignore that number. It's not meaningless, but it's not worth discussing, either.
LENS
Lenses are very complicated and unless you start spending thousands, there's not much to talk about.
The only thing I can say about this is that Canon makes some of the best consumer grade lenses available. While Sony does a good job, Canon usually has the best OPTICAL magnification (zoom) ratings. If you intend to shoot small items, or at longer distances, you'll probably wind up with a Canon.
Manual lens controls on consumer cameras are non-existent. Occasionally they will offer a manual "focus ring" around the lens, but these are clunky at best. I guess it's better than nothing, but not much. Usually manual focus and iris functions - if available - exist as a small finger wheel.
CONTROLS
As I alluded above, manual control is pretty limited on lower end cameras. It usually requires a good number of button-pushes and some finagling to get the camera to do what you want it to. At any rate, here's an overview of the MANUAL controls you want on a decent camera.
Focus, iris, shutter, white balance, image gain, image stabilization (ability to shut it OFF), microphone (audio in) gain, and if possible, audio out (headphone) volume. Make sure that it has an external microphone jack.
BRAND
I'd stick with Sony, Panasonic, Canon, or JVC. No particular order. They make professional equipment, so I figure they have the best chance of making a decent consumer product.
FEATURES TO IGNORE
Digital Zoom - All this is good for is successfully turning the image to a steaming pile of dog mess. It will be a feature included on all cameras, but don't use it. EVER.
Digital Effects - Again... dog mess. Don't use them.
Still Camera - Irrelevant. You're buying a video camera, right? If you want to take stills, buy a still camera.
FLIP CAMS
Flip Cams are gaining a lot of popularity. I'm actually pretty impressed FOR WHAT THEY ARE. The video quality is okay and the audio quality is passable as long as the environment is quiet. However, they are fixed focus, offer only digital zoom (if any), auto-exposure only, and have no input or output connectors other than that of USB and HDMI connectors.
Under the right conditions, it's possible to get mediocre results. If you intend to do anything outside or if you intend to get creative, you'd better pass.
WEB CAMS
This is of course an option, but the quality will be pretty poor, control will be all but non-existent, and audio is going to be a big challenge (we'll get to that in another post). It's up to you, but maybe you should re-read my post on "Mediocre" if you are considering a web cam.
STILL CAMERAS THAT SHOOT VIDEO
There are a number of still cameras getting press about being excellent video cameras. I'm not impressed. Still cameras and video cameras have two entirely different functions. If you're shooting video, buy a video camera.
WHERE TO BUY
Offline, around Boise, I'd say Idaho Camera or Best Buy. Best Buy will have better prices, but the clerk won't be able to answer more involved questions. Idaho Camera should at least have a fairly competent staff, but you will pay more.
Online, in my opinion, you've got one option. B & H Photo.
SO THERE YOU GO
You can take my advice, or not. I'll continue this series in the next post; DIY Video Part II - Accessories for the Mediocre Shoot
FORMAT
The camera's recording format is probably the first decision to consider since that will quickly narrow the field of options.
First you need to decide whether you want to record in standard definition or high definition. If your video will only be placed on the web, you really don't need high definition. However, the cost between standard and high definition equipment is almost negligible these days, so you might as well go big.
It also depends on to what medium you wish to record. If you like tape, then you're options are limited to either mini-DV (standard def) or HDV (high def) formats.
The other options are hard drive, optical disc (like a small recordable DVD), or solid state flash memory. Often cameras that use non-tape-based recording mediums will allow you to record video in a number of formats (codecs) or resolutions.
Most consumer cameras use either an MPEG-4 or MPEG-2 compression codecs (a way of "encoding" the video data so that it uses less memory). Some codecs are really efficient (record high quality video in a small space), and others not so much (either quality or size may be compromised).
I've seen very good results with cameras using the AVCHD H.264 (MPEG-4) codec. Compact file size with good visual clarity and color rendition.
I would also lean toward flash-based cameras. If you tend to be hard on electronics (like your cell phone) I would go solid state. Hard drive and optical disc mediums are more fragile and generally a bigger pain in the butt to use. However, both the optical disc and tape mediums are easier to archive. If you use flash cards or hard drives, the video data must be either archived in separate location (another optical disc or hard drive somewhere) or deleted permanently.
SENSORS
The sensor is what "sees" the image you are recording. The lens and sensor make up the camera's "eye". The type and number of sensors in a camera can vary. There are 2 types, CMOS and CCD.
CMOS is considered the "newer" technology. They use less power and are less expensive to manufacture, but are considered by many to produce an inferior image. Most manufacturers apart from Sony have migrated almost completely to CMOS sensors in their consumer offerings.
CCD's require more power, but as a rule, are able to obtain a better image in low light conditions. Sony mostly uses CCD's. This is likely because Sony is one of the largest producers of CCD devices.
Ultimately, CCD vs. CMOS makes little difference in consumer grade cameras. However, the number of sensors does. Most inexpensive cameras have 1 sensor. More expensive models have 3; one for each of the colors red, green, and blue. In these so-called "3-chip" cameras, the lens focuses the light it collects on a prism, dividing the light into its component colors. And this, with the help of a number of other technologies, ultimately creates a better recorded image.
Most cameras will have the megapixel value of the sensor proudly branded on the outside of the camera. You can pretty much ignore that number. It's not meaningless, but it's not worth discussing, either.
LENS
Lenses are very complicated and unless you start spending thousands, there's not much to talk about.
The only thing I can say about this is that Canon makes some of the best consumer grade lenses available. While Sony does a good job, Canon usually has the best OPTICAL magnification (zoom) ratings. If you intend to shoot small items, or at longer distances, you'll probably wind up with a Canon.
Manual lens controls on consumer cameras are non-existent. Occasionally they will offer a manual "focus ring" around the lens, but these are clunky at best. I guess it's better than nothing, but not much. Usually manual focus and iris functions - if available - exist as a small finger wheel.
CONTROLS
As I alluded above, manual control is pretty limited on lower end cameras. It usually requires a good number of button-pushes and some finagling to get the camera to do what you want it to. At any rate, here's an overview of the MANUAL controls you want on a decent camera.
Focus, iris, shutter, white balance, image gain, image stabilization (ability to shut it OFF), microphone (audio in) gain, and if possible, audio out (headphone) volume. Make sure that it has an external microphone jack.
BRAND
I'd stick with Sony, Panasonic, Canon, or JVC. No particular order. They make professional equipment, so I figure they have the best chance of making a decent consumer product.
FEATURES TO IGNORE
Digital Zoom - All this is good for is successfully turning the image to a steaming pile of dog mess. It will be a feature included on all cameras, but don't use it. EVER.
Digital Effects - Again... dog mess. Don't use them.
Still Camera - Irrelevant. You're buying a video camera, right? If you want to take stills, buy a still camera.
FLIP CAMS
Flip Cams are gaining a lot of popularity. I'm actually pretty impressed FOR WHAT THEY ARE. The video quality is okay and the audio quality is passable as long as the environment is quiet. However, they are fixed focus, offer only digital zoom (if any), auto-exposure only, and have no input or output connectors other than that of USB and HDMI connectors.
Under the right conditions, it's possible to get mediocre results. If you intend to do anything outside or if you intend to get creative, you'd better pass.
WEB CAMS
This is of course an option, but the quality will be pretty poor, control will be all but non-existent, and audio is going to be a big challenge (we'll get to that in another post). It's up to you, but maybe you should re-read my post on "Mediocre" if you are considering a web cam.
STILL CAMERAS THAT SHOOT VIDEO
There are a number of still cameras getting press about being excellent video cameras. I'm not impressed. Still cameras and video cameras have two entirely different functions. If you're shooting video, buy a video camera.
WHERE TO BUY
Offline, around Boise, I'd say Idaho Camera or Best Buy. Best Buy will have better prices, but the clerk won't be able to answer more involved questions. Idaho Camera should at least have a fairly competent staff, but you will pay more.
Online, in my opinion, you've got one option. B & H Photo.
SO THERE YOU GO
You can take my advice, or not. I'll continue this series in the next post; DIY Video Part II - Accessories for the Mediocre Shoot
Sunday, August 2, 2009
You Don't Need My Help To Be Mediocre
I'm tired of mediocre.
I am often approached by would-be clients and asked "How much for a __________ video?"
First of all, it is nearly impossible to give anything resembling an accurate figure off the top of my head. Video production is a complicated process, and without defining a fairly detailed scope of work, there's really no way to answer that question. I'm sure that people think I'm being sneaky, trying to catch a glance at the amount of cash inside their wallet so I can strategically spend all of it for them. I assure you, that's not the case.
No really... "How much for a ________ video?"
Oh, sorry! Back to the question at hand.
Let's analyze this for a minute. What is the focus of the question? If you answered "money", you're correct (sorry for you folks in the front row, but we do have some lovely parting gifts). The person is really only - or at least primarily - interested in the bottom line. How much is this going to cost me?
Their decision on whether or not to partner with The Imagery Lab is based on the amount of money they feel they can comfortably spend. I'm surely not criticizing that as a valid decision making mechanism, God knows I don't want anyone to put themselves in a precarious financial position, but most often a person that asks this question first is either not capable or not willing to spend enough to get a good return on investment. They would be better off looking at other options or saving up until they have the funds to realistically pursue the project.
Sage advice...
My uncle lived in Nevada for most of his life. He spent countless hours, days sometimes, in casinos gambling. I asked him one time what was the most important lesson he learned in all of his years gambling. His answer was "Never play with scared money."
[The second most important lesson is "If you win, get up and leave." He never followed either of them, which is why he's not wealthy, but I digress...]
I've applied my uncle's wisdom to many different situations. This is a perfect example. If you're too scared to spend enough to do it right, then put your money back in your pocket, push away from the table, and leave. You'll do more damage than good if you aren't committed to the process.
Which brings me to the reason for the title of this post.
You don't need my help to be mediocre! I didn't start The Imagery Lab to help my clients waste their money. I also didn't do it so that I could spend my life making crap. I want to make pretty things. Interesting things. Compelling things. Unique things. Fun things. And I want the clients that choose to work with The Imagery Lab to get something better than mediocre.
My point is I'm not interested in taking your money to help you be mediocre. I don't want my tombstone to say "Here lies Jason Hunsperger. He made mediocre." Mediocre is all around us. Mediocre is available for free. You can be mediocre forever and not spend a dime.
"But I just want a simple video. Something like I saw on YouTube."
Many of the clients that ask the dreaded 'how much for a ______ video' question follow it up with "I just want something simple." They may even reference a specific video they have seen on YouTube. Guess what?
Mediocre.
Once again, they don't need my help to make mediocre. They can grab a webcam or their video camera, make mediocre (if they're lucky), and post it on YouTube or wherever. It's easy. It's free.
But think about this; how is mediocre going to help your business?
Remember those lovely parting gifts I mentioned?
Over the years I have had a number of clients and would-be clients decide to do just that. It's certainly an option. Just like doing your own accounting or auto repair are options. I don't know about you, but I'm a mediocre mechanic and a downright awful accountant. That's why I pay professionals to handle those tasks for me; because they're good at what they do. Just like I'm good at what I do.
That said, I believe the world needs less mediocre. So I'm going to start a series of posts on the basics of shooting your own video. If you want, you're welcome to follow along. This will be a great opportunity for those future "do-it-yourselfers" to get a crash course in the world of production. Who knows, with enough work, we might be able to elevate some of the mediocre to unexceptional.
But if you are one of those few that are ready for something more than mediocre, I'd love to hear from you.
I am often approached by would-be clients and asked "How much for a __________ video?"
First of all, it is nearly impossible to give anything resembling an accurate figure off the top of my head. Video production is a complicated process, and without defining a fairly detailed scope of work, there's really no way to answer that question. I'm sure that people think I'm being sneaky, trying to catch a glance at the amount of cash inside their wallet so I can strategically spend all of it for them. I assure you, that's not the case.
No really... "How much for a ________ video?"
Oh, sorry! Back to the question at hand.
Let's analyze this for a minute. What is the focus of the question? If you answered "money", you're correct (sorry for you folks in the front row, but we do have some lovely parting gifts). The person is really only - or at least primarily - interested in the bottom line. How much is this going to cost me?
Their decision on whether or not to partner with The Imagery Lab is based on the amount of money they feel they can comfortably spend. I'm surely not criticizing that as a valid decision making mechanism, God knows I don't want anyone to put themselves in a precarious financial position, but most often a person that asks this question first is either not capable or not willing to spend enough to get a good return on investment. They would be better off looking at other options or saving up until they have the funds to realistically pursue the project.
Sage advice...
My uncle lived in Nevada for most of his life. He spent countless hours, days sometimes, in casinos gambling. I asked him one time what was the most important lesson he learned in all of his years gambling. His answer was "Never play with scared money."
[The second most important lesson is "If you win, get up and leave." He never followed either of them, which is why he's not wealthy, but I digress...]
I've applied my uncle's wisdom to many different situations. This is a perfect example. If you're too scared to spend enough to do it right, then put your money back in your pocket, push away from the table, and leave. You'll do more damage than good if you aren't committed to the process.
Which brings me to the reason for the title of this post.
You don't need my help to be mediocre! I didn't start The Imagery Lab to help my clients waste their money. I also didn't do it so that I could spend my life making crap. I want to make pretty things. Interesting things. Compelling things. Unique things. Fun things. And I want the clients that choose to work with The Imagery Lab to get something better than mediocre.
My point is I'm not interested in taking your money to help you be mediocre. I don't want my tombstone to say "Here lies Jason Hunsperger. He made mediocre." Mediocre is all around us. Mediocre is available for free. You can be mediocre forever and not spend a dime.
"But I just want a simple video. Something like I saw on YouTube."
Many of the clients that ask the dreaded 'how much for a ______ video' question follow it up with "I just want something simple." They may even reference a specific video they have seen on YouTube. Guess what?
Mediocre.
Once again, they don't need my help to make mediocre. They can grab a webcam or their video camera, make mediocre (if they're lucky), and post it on YouTube or wherever. It's easy. It's free.
But think about this; how is mediocre going to help your business?
Remember those lovely parting gifts I mentioned?
Over the years I have had a number of clients and would-be clients decide to do just that. It's certainly an option. Just like doing your own accounting or auto repair are options. I don't know about you, but I'm a mediocre mechanic and a downright awful accountant. That's why I pay professionals to handle those tasks for me; because they're good at what they do. Just like I'm good at what I do.
That said, I believe the world needs less mediocre. So I'm going to start a series of posts on the basics of shooting your own video. If you want, you're welcome to follow along. This will be a great opportunity for those future "do-it-yourselfers" to get a crash course in the world of production. Who knows, with enough work, we might be able to elevate some of the mediocre to unexceptional.
But if you are one of those few that are ready for something more than mediocre, I'd love to hear from you.
Friday, July 24, 2009
What is Production Value?
"Production Value" is a term that's been tossed across conference room tables for decades. Today, in pre-production meetings around the globe, one of the most pervasive topics of discussion is production value, yet many people have never heard the term, or if they have, they may not fully understand what it means or how it applies to their project.
From here out, I'll refer to production value as "PV". (I know... lazy.)
The easiest way to illustrate differences in PV is to use something with which everyone is familiar; Hollywood movies. Consider the movie Transformers for instance. Transformers would be considered by most to be a movie with high PV. Likely the focus of this reference would be the amazing special effects and compositing work, but it could also mean things such as lighting, sets, wardrobe, or storyline components.
Now let's consider the 1954 film The Creature from the Black Lagoon. While at the time of its release it may have been pretty groundbreaking (or maybe not), seeing such poorly constructed sets and ridiculous looking rubber monster costumes in a movie released today would classify it as nothing more than a bad attempt at comedy. Many would call such a film a "B-Movie".
You may have noticed - and appropriately so - that a good portion of what determines PV is subjective. Audiences in 1954 were likely so shocked to see a "swamp monster" on the screen that the now silly-looking rubber suit was not a distraction. Theater audiences today have owned computers for years, they play amazingly realistic video games, they regularly see advanced special effects on weekly television series, and they have come to expect a much higher level of technical proficiency.
So how does this apply to the world of corporate video production, and more importantly, how does it affect you? Well, at a much smaller scale, all of the same rules hold true. Story (a.k.a. script), recording format, available production equipment, talent (both in front of and behind the camera), editing style, special effects, audio treatment, delivery medium, time table (deadlines), and many other factors will influence the overall PV of any project.
During initial production meetings, our clients often say "we don't want this to look cheesy", or "we want a high-quality, professional video". What they are in-effect saying is "we expect high production value".
The bad news is that, as a rule, the higher the PV, the more money it costs. The good news is that you can save money by not "overproducing" your project. Ultimately, it comes down to three big factors; the first is the audience's expectations, second is their tolerance to distractions, and the third is corporate culture. Remember I mentioned earlier that PV can be highly subjective?
Let's address audience expectations.
If the goal of the project is to raise millions of dollars for a 5-star resort/hotel, the audience (bankers, venture capitalists, etc.) will have a keen sense for PV. In a case like this, the viewers will want to see a product they can take seriously and mimics the level of quality (extravagance?) to be found in the finished resort.
Conversely, if the goal of the project is to develop a staff training video for the employees of a local fast food restaurant, a fairly simple, no-frills video will probably do the job just fine. This is a perfect example of a case where content rules. The restaurant's new hires will (hopefully) be focused on content rather than critiquing wardrobe choices. Mechanics will be much less important.
So what about tolerance to distractions?
In our first example, the fundraiser video, the audience will mostly be reacting to how the video makes them feel; in other words they're anticipating a more emotional reaction. They will also be looking for "wow" moments or points in the storyline when they are excited by something unique. Aesthetic issues like poorly executed camera moves, unpolished animations, and inexperienced talent will call attention to themselves.
In the fast food restaurant example, employees usually expect workforce training materials to be fairly - for lack of a better term - bland. Sure, they may be hoping for something a little more stimulating, but if, for example, the on-camera talent is less than enchanting, the overall impact of the content probably won't be significantly sacrificed.
Hopefully by now you can see that the "required" level of PV can vary greatly from project-to-project, and really, there's rarely a compelling reason to overproduce. But when the project (read: audience) is "sophisticated" enough that it does make a difference, you want to ensure that you don't underdeliver.
Finally, a company's culture can play a big roll in the final product. Some organizations feel that all of their communications, independent of audience, need to reflect the same level of excellence. That's certainly a valid point. Larger entities often go to great efforts (and expense) to reinforce their brand from the inside out. From the paint they use on the office walls to the type of paper they use for printed collateral, it all gets an equal amount of attention. The look and feel of their visual content is no different.
Yet due to the current economic situation, I know that a number of organizations are loosening up a bit on these requirements in order leave a little more cash in the bank. Ultimately, each company must decide what's right for them.
I guess the bottom line is you're going to want to evaluate your budget against your desired PV. Not to say you can't get adequate production value without spending tremendous heaps of cash, but as with most things, it certainly helps to have budget expectations equal to the challenge.
From here out, I'll refer to production value as "PV". (I know... lazy.)
The easiest way to illustrate differences in PV is to use something with which everyone is familiar; Hollywood movies. Consider the movie Transformers for instance. Transformers would be considered by most to be a movie with high PV. Likely the focus of this reference would be the amazing special effects and compositing work, but it could also mean things such as lighting, sets, wardrobe, or storyline components.
Now let's consider the 1954 film The Creature from the Black Lagoon. While at the time of its release it may have been pretty groundbreaking (or maybe not), seeing such poorly constructed sets and ridiculous looking rubber monster costumes in a movie released today would classify it as nothing more than a bad attempt at comedy. Many would call such a film a "B-Movie".
You may have noticed - and appropriately so - that a good portion of what determines PV is subjective. Audiences in 1954 were likely so shocked to see a "swamp monster" on the screen that the now silly-looking rubber suit was not a distraction. Theater audiences today have owned computers for years, they play amazingly realistic video games, they regularly see advanced special effects on weekly television series, and they have come to expect a much higher level of technical proficiency.
So how does this apply to the world of corporate video production, and more importantly, how does it affect you? Well, at a much smaller scale, all of the same rules hold true. Story (a.k.a. script), recording format, available production equipment, talent (both in front of and behind the camera), editing style, special effects, audio treatment, delivery medium, time table (deadlines), and many other factors will influence the overall PV of any project.
During initial production meetings, our clients often say "we don't want this to look cheesy", or "we want a high-quality, professional video". What they are in-effect saying is "we expect high production value".
The bad news is that, as a rule, the higher the PV, the more money it costs. The good news is that you can save money by not "overproducing" your project. Ultimately, it comes down to three big factors; the first is the audience's expectations, second is their tolerance to distractions, and the third is corporate culture. Remember I mentioned earlier that PV can be highly subjective?
Let's address audience expectations.
If the goal of the project is to raise millions of dollars for a 5-star resort/hotel, the audience (bankers, venture capitalists, etc.) will have a keen sense for PV. In a case like this, the viewers will want to see a product they can take seriously and mimics the level of quality (extravagance?) to be found in the finished resort.
Conversely, if the goal of the project is to develop a staff training video for the employees of a local fast food restaurant, a fairly simple, no-frills video will probably do the job just fine. This is a perfect example of a case where content rules. The restaurant's new hires will (hopefully) be focused on content rather than critiquing wardrobe choices. Mechanics will be much less important.
So what about tolerance to distractions?
In our first example, the fundraiser video, the audience will mostly be reacting to how the video makes them feel; in other words they're anticipating a more emotional reaction. They will also be looking for "wow" moments or points in the storyline when they are excited by something unique. Aesthetic issues like poorly executed camera moves, unpolished animations, and inexperienced talent will call attention to themselves.
In the fast food restaurant example, employees usually expect workforce training materials to be fairly - for lack of a better term - bland. Sure, they may be hoping for something a little more stimulating, but if, for example, the on-camera talent is less than enchanting, the overall impact of the content probably won't be significantly sacrificed.
Hopefully by now you can see that the "required" level of PV can vary greatly from project-to-project, and really, there's rarely a compelling reason to overproduce. But when the project (read: audience) is "sophisticated" enough that it does make a difference, you want to ensure that you don't underdeliver.
Finally, a company's culture can play a big roll in the final product. Some organizations feel that all of their communications, independent of audience, need to reflect the same level of excellence. That's certainly a valid point. Larger entities often go to great efforts (and expense) to reinforce their brand from the inside out. From the paint they use on the office walls to the type of paper they use for printed collateral, it all gets an equal amount of attention. The look and feel of their visual content is no different.
Yet due to the current economic situation, I know that a number of organizations are loosening up a bit on these requirements in order leave a little more cash in the bank. Ultimately, each company must decide what's right for them.
I guess the bottom line is you're going to want to evaluate your budget against your desired PV. Not to say you can't get adequate production value without spending tremendous heaps of cash, but as with most things, it certainly helps to have budget expectations equal to the challenge.
Wednesday, May 20, 2009
How I utilize Twitter... whatever that is.
By now, most Internet-savvy individuals have at least heard of Twitter, though perhaps only a small percentage actually have a Twitter account. When the topic arises in conversations with friends, family and business associates, I am often asked, "What is Twitter?"
It's tough to answer.
Technically speaking, Twitter is a micro-blogging service. But that doesn't offer a very good explanation (blank stares ensue). Some users liken it to text messaging or instant messaging, however that doesn't represent my experience. I've heard still other users refer to it as "conversation management". And that would be accurate to a degree, but perhaps a little obtuse. I've found Twitter is hard to sum up in just a few words.
First of all, for those that haven't seen how Twitter physically functions, users have people that they "follow", and people that "follow" them. When you "follow" someone, it means that you will see their tweets (a "tweet" is a Twitter entry) - in chronological order starting with the most recent - on your Twitter page. Each tweet is limited to 140 characters. Using more than one tweet to convey a single thought - while rarely explicitly expressed - is generally discouraged. Brevity is the objective.
Once I get someone beyond the technical details, the next question is usually along the lines of "Okay, but what is Twitter good for?"
I tell people that my Twitter account is like my own personal radio or television station. In the words of my good friend Esau Kessler (Twitter username @meaning), Twitter is a "broadcast channel". In keeping with the analogy, tweets are like mini (really mini!) TV shows. They can be related to human interest stories, news bits, industry tips, business topics, recreation and hobbies, humor or entertainment, historical or biographical, and yes, advertisements.
So when someone follows me on Twitter, it is as if they've tuned in to my station. I can broadcast anything I want to. I can tweet about personal stuff, business stuff, or anything in between. The more relevant my tweets are to my followers, the more likely they are to keep following me.
That's why I try to put a lot of variety in to my tweets; a little something for everyone. As a business owner, it would be easy for me to "always be closing" while tweeting. I see a lot of business owners - especially if they are new to Twitter - talking about nothing but business. I feel like if I tweet about my business, I need to do it in a manner that adds value for my followers, even if it's only minimal. If I do nothing but advertise, my followers will "change the channel" (un-follow). Would you watch a TV station that was nothing but advertisements (Home Shopping Network, et. al.)? Probably not.
I also don't tweet non-stop. Sometimes I'll be so busy that I go days without tweeting. I think that has merit as well. As the old adage goes, God gave us two ears and one mouth for a reason. Sometimes you have to know when to shut up and listen. It keeps your followers from getting sick of you.
That brings me to who I follow. It should be obvious by now that I won't follow anyone who constantly self-promotes... at least not for long.
Nor will follow people that use a lot of "at-replies". An @-reply (using @username convention) is like sending a tweet to a specific person (though often it is only used to reference a user), but everyone can see it. (Twitter has a private, "direct" messaging function as well.) An @-reply is only a response. Sometimes it can be interesting, but more often it diminishes the quality of my Twitter feed because (1) it is only partially original content and (2) it is rarely relevant to anyone but the person to whom it was directed.
Typically, I won't follow someone who has a large number of tweets per day. That generally means that the percentage of useful or interesting information is buried in a flurry of meaningless garbage (there are exceptions). If you haven't guessed it by now, I prefer quality over quantity.
What does Twitter tell me about the people I follow? More than you'd think, actually. I see each tweet like a piece of a jigsaw puzzle. Every tweet has one little component of the overall picture. As I put the pieces together, I begin to see a profile of the person. Eventually, with enough tweets, I know quite a bit about the type of people I follow.
So what does it all mean? Well, you'll have to try it for yourself. Twitter means different things to different people. My only advice would be to try it and don't give up until you've moved past the inevitable frustration. Eventually, you'll figure out how to make it useful for you.
Veteran Twitter users will say that I haven't scratched the surface. And I haven't. But to unlock the rest of the "Twysteries", you'll just have to tweet for yourself.
The End.
It's tough to answer.
Technically speaking, Twitter is a micro-blogging service. But that doesn't offer a very good explanation (blank stares ensue). Some users liken it to text messaging or instant messaging, however that doesn't represent my experience. I've heard still other users refer to it as "conversation management". And that would be accurate to a degree, but perhaps a little obtuse. I've found Twitter is hard to sum up in just a few words.
First of all, for those that haven't seen how Twitter physically functions, users have people that they "follow", and people that "follow" them. When you "follow" someone, it means that you will see their tweets (a "tweet" is a Twitter entry) - in chronological order starting with the most recent - on your Twitter page. Each tweet is limited to 140 characters. Using more than one tweet to convey a single thought - while rarely explicitly expressed - is generally discouraged. Brevity is the objective.
Once I get someone beyond the technical details, the next question is usually along the lines of "Okay, but what is Twitter good for?"
I tell people that my Twitter account is like my own personal radio or television station. In the words of my good friend Esau Kessler (Twitter username @meaning), Twitter is a "broadcast channel". In keeping with the analogy, tweets are like mini (really mini!) TV shows. They can be related to human interest stories, news bits, industry tips, business topics, recreation and hobbies, humor or entertainment, historical or biographical, and yes, advertisements.
So when someone follows me on Twitter, it is as if they've tuned in to my station. I can broadcast anything I want to. I can tweet about personal stuff, business stuff, or anything in between. The more relevant my tweets are to my followers, the more likely they are to keep following me.
That's why I try to put a lot of variety in to my tweets; a little something for everyone. As a business owner, it would be easy for me to "always be closing" while tweeting. I see a lot of business owners - especially if they are new to Twitter - talking about nothing but business. I feel like if I tweet about my business, I need to do it in a manner that adds value for my followers, even if it's only minimal. If I do nothing but advertise, my followers will "change the channel" (un-follow). Would you watch a TV station that was nothing but advertisements (Home Shopping Network, et. al.)? Probably not.
I also don't tweet non-stop. Sometimes I'll be so busy that I go days without tweeting. I think that has merit as well. As the old adage goes, God gave us two ears and one mouth for a reason. Sometimes you have to know when to shut up and listen. It keeps your followers from getting sick of you.
That brings me to who I follow. It should be obvious by now that I won't follow anyone who constantly self-promotes... at least not for long.
Nor will follow people that use a lot of "at-replies". An @-reply (using @username convention) is like sending a tweet to a specific person (though often it is only used to reference a user), but everyone can see it. (Twitter has a private, "direct" messaging function as well.) An @-reply is only a response. Sometimes it can be interesting, but more often it diminishes the quality of my Twitter feed because (1) it is only partially original content and (2) it is rarely relevant to anyone but the person to whom it was directed.
Typically, I won't follow someone who has a large number of tweets per day. That generally means that the percentage of useful or interesting information is buried in a flurry of meaningless garbage (there are exceptions). If you haven't guessed it by now, I prefer quality over quantity.
What does Twitter tell me about the people I follow? More than you'd think, actually. I see each tweet like a piece of a jigsaw puzzle. Every tweet has one little component of the overall picture. As I put the pieces together, I begin to see a profile of the person. Eventually, with enough tweets, I know quite a bit about the type of people I follow.
So what does it all mean? Well, you'll have to try it for yourself. Twitter means different things to different people. My only advice would be to try it and don't give up until you've moved past the inevitable frustration. Eventually, you'll figure out how to make it useful for you.
Veteran Twitter users will say that I haven't scratched the surface. And I haven't. But to unlock the rest of the "Twysteries", you'll just have to tweet for yourself.
The End.
Saturday, April 18, 2009
Video production pricing can vary a great deal from project to project, but ultimately the same components are considered for each proposal. The list is long, but in order to be comprehensive, it has to be. Video production is an involved process. In fact, it is often compared to building a home.
Research - Includes fact-finding, location scouting, tracking down experts, locating talent, and all the "footwork" and coordination needed to make the production go smoothly.
Scriptwriting - Sometimes the script almost writes itself, other times, scriptwriting is the most difficult part of the whole production. In any case, the script is the "blueprint" for the rest of the video and as a result, is probably the most critical component.
Storyboarding - Storyboarding is a helpful component for the production team. A storyboard is a series of still frames - often hand drawn like a cartoon - that represent the key shots of the video. It is an inexpensive way for visual ideas to be communicated before the expensive production process begins. The cinematographer or director of photography will often reference this during production so he can match the "vision" of the creative team.
Voice Talent (Narrator) - If your video is narrated, somebody has to speak in to the microphone. We recommend professional voice talent be obtained. It can make all the difference!
Acting Talent - Sometimes we will need acting talent to perform a particular task or speak lines of dialogue in front of the camera. Perhaps your video will have an on-screen "host" instead of just a narrator.
Production Time - This is where the rubber meets the road. Lights! Camera! Action! Production is when the video is actually being recorded to tape.
Production Staff - More complex productions will require some help. It is typical for production companies to hire freelance professionals to help with things like lighting, sound, and other production-related tasks.
Consumables - Consumables such as videotape, lamps, and batteries are considered.
Travel / Lodging / Meals / Expenses - If your production requires travel to obtain footage, there may be associated expenses like fuel, airline tickets, rental cars, hotels, food, and other similar expenses.
Location Fees - Some shoot locations may require permits and/or fees to gain legal permission to record video on the property.
Equipment Rental - Your production may require specialized equipment - like a scissor lift or a helicopter - in order to obtain the desired footage.
Logging Footage - Once the video is recorded, it must be sorted and categorized to find the best takes, transcribe interview sound bites, organize the clips, and other such tasks. This is usually done concurrently with copying the raw footage into the editing system computer.
Editing - This is the first place the video starts to look like a video. It starts with a "rough-cut" where clips are placed on the timeline in a rough state. As the project develops, the clips are carefully "trimmed" and the video starts to take on its final form.
Graphics - Graphics such as logos, fonts (text), and other elements are created and "composited" with the edited video.
Effects - Transitions between clips, color correction, and filters are added to the video.
Animation - Your production may need a 2-dimensional (2D) or 3D animation as a special visual effect, or to convey an idea that either can't be captured with a camera or would be too dangerous or cost prohibitive to obtain otherwise.
Audio Sweetening - The audio elements are mixed and perfected.
Music Licensing - If your production has music, and you can't write and record it yourself, you're going to have to pay someone to do it for you. For cost-conscious clients, pre-packaged "royalty-free" or "rights-managed" music is often used, but some clients prefer that a musician write a custom score just for them.
Export - This is where the video is converted to its final viewing format. Whether it is mastered to videotape, or to DVD, or to and internet-ready format, it has to be exported from the editing system.
DVD Authoring - If your project demands an elaborately menued or fully-interactive DVD, it has to be created from scratch.
Packaging - How are you going to package the disc for delivery to the viewer? Will it be in a plain envelope? Or do you want it packaged like a Hollywood movie with color inserts and other goodies?
Delivery - Are you streaming your video over the internet? Or are you broadcasting it on national TV? It all affects how the video is served to the end user.
So there you have it. It's a lot to look at, but industry-wide almost all production proposals will have considered at least each of the items on this partial list.
As an aside, it is typical in the video production industry to ask the client for 50% of the total estimated cost up front. The deposit covers out of pocket expenses to get the project off the ground and reassures the production company that the client is committed to the project. The remaining 50% is typically due upon delivery of the finished video. If the project is large or takes place over a number of months, the production company may ask for smaller payments to be scheduled along the way.
You will often be asked to sign an agreement as well. The agreement should be simple and in plain English. Read it thoroughly and make sure you understand the implications of each component. If something doesn't seem right, ask for clarification. And always be willing to push away from the table if the agreement doesn't seem reasonable.
Also, you as the client must be willing to take an active role in the production from start to finish. You should make it a point to ask the production company for regular updates if they aren't providing them fairly often. Attend shoots, ask questions, and know what is going on. Be very cautious if your production company isn't willing to pull back the curtain and let you see the mechanics at work.
Research - Includes fact-finding, location scouting, tracking down experts, locating talent, and all the "footwork" and coordination needed to make the production go smoothly.
Scriptwriting - Sometimes the script almost writes itself, other times, scriptwriting is the most difficult part of the whole production. In any case, the script is the "blueprint" for the rest of the video and as a result, is probably the most critical component.
Storyboarding - Storyboarding is a helpful component for the production team. A storyboard is a series of still frames - often hand drawn like a cartoon - that represent the key shots of the video. It is an inexpensive way for visual ideas to be communicated before the expensive production process begins. The cinematographer or director of photography will often reference this during production so he can match the "vision" of the creative team.
Voice Talent (Narrator) - If your video is narrated, somebody has to speak in to the microphone. We recommend professional voice talent be obtained. It can make all the difference!
Acting Talent - Sometimes we will need acting talent to perform a particular task or speak lines of dialogue in front of the camera. Perhaps your video will have an on-screen "host" instead of just a narrator.
Production Time - This is where the rubber meets the road. Lights! Camera! Action! Production is when the video is actually being recorded to tape.
Production Staff - More complex productions will require some help. It is typical for production companies to hire freelance professionals to help with things like lighting, sound, and other production-related tasks.
Consumables - Consumables such as videotape, lamps, and batteries are considered.
Travel / Lodging / Meals / Expenses - If your production requires travel to obtain footage, there may be associated expenses like fuel, airline tickets, rental cars, hotels, food, and other similar expenses.
Location Fees - Some shoot locations may require permits and/or fees to gain legal permission to record video on the property.
Equipment Rental - Your production may require specialized equipment - like a scissor lift or a helicopter - in order to obtain the desired footage.
Logging Footage - Once the video is recorded, it must be sorted and categorized to find the best takes, transcribe interview sound bites, organize the clips, and other such tasks. This is usually done concurrently with copying the raw footage into the editing system computer.
Editing - This is the first place the video starts to look like a video. It starts with a "rough-cut" where clips are placed on the timeline in a rough state. As the project develops, the clips are carefully "trimmed" and the video starts to take on its final form.
Graphics - Graphics such as logos, fonts (text), and other elements are created and "composited" with the edited video.
Effects - Transitions between clips, color correction, and filters are added to the video.
Animation - Your production may need a 2-dimensional (2D) or 3D animation as a special visual effect, or to convey an idea that either can't be captured with a camera or would be too dangerous or cost prohibitive to obtain otherwise.
Audio Sweetening - The audio elements are mixed and perfected.
Music Licensing - If your production has music, and you can't write and record it yourself, you're going to have to pay someone to do it for you. For cost-conscious clients, pre-packaged "royalty-free" or "rights-managed" music is often used, but some clients prefer that a musician write a custom score just for them.
Export - This is where the video is converted to its final viewing format. Whether it is mastered to videotape, or to DVD, or to and internet-ready format, it has to be exported from the editing system.
DVD Authoring - If your project demands an elaborately menued or fully-interactive DVD, it has to be created from scratch.
Packaging - How are you going to package the disc for delivery to the viewer? Will it be in a plain envelope? Or do you want it packaged like a Hollywood movie with color inserts and other goodies?
Delivery - Are you streaming your video over the internet? Or are you broadcasting it on national TV? It all affects how the video is served to the end user.
So there you have it. It's a lot to look at, but industry-wide almost all production proposals will have considered at least each of the items on this partial list.
As an aside, it is typical in the video production industry to ask the client for 50% of the total estimated cost up front. The deposit covers out of pocket expenses to get the project off the ground and reassures the production company that the client is committed to the project. The remaining 50% is typically due upon delivery of the finished video. If the project is large or takes place over a number of months, the production company may ask for smaller payments to be scheduled along the way.
You will often be asked to sign an agreement as well. The agreement should be simple and in plain English. Read it thoroughly and make sure you understand the implications of each component. If something doesn't seem right, ask for clarification. And always be willing to push away from the table if the agreement doesn't seem reasonable.
Also, you as the client must be willing to take an active role in the production from start to finish. You should make it a point to ask the production company for regular updates if they aren't providing them fairly often. Attend shoots, ask questions, and know what is going on. Be very cautious if your production company isn't willing to pull back the curtain and let you see the mechanics at work.
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