Russ Pond

Questions for Prospective Production Clients

It starts with a phone call or email: “We’re interested in producing a video.” Sometimes, the project details are very clear with little room for changes.  Other times, the media need is more vague, with the client only knowing what they want to accomplish with the video production.  Most of the time, however, it’s somewhere in between–the clients knows generally what they want and how they want to accomplish it, but needs help getting there.

Helping the client understand their audience and how a video production can help communicate their message will build a very strong foundation for the project at hand.

To best understand what my client wants to accomplish with this video, I have a list of questions I ask them:

  1. Who is your target audience? Who do you want to watch these videos?  Customers?  Investors?  Clients?  Businesses?  Mangers?  Can you define your target demographic (people your trying to reach)?   What is the social target: age, income, marital status, number of children, education level, etc. Is this video for a particular region (east cost, city, state, etc.), or nationwide, or global?
  2. What are you wanting to communicate through this video? Brand, company stability, services, offerings, value, training, a new product, etc.?
  3. Is it more like a documentary (facts, information and education), or more of a narrative story (fiction, storytelling, hypothetical use, etc.)?
  4. What are some emotions or feelings you would like to communicate? Trust, confidence, strength, etc.? List some adjectives that you’re want to convey about what you’re wanting to communicate through this video.
  5. How many separate videos do you need, and what is the estimated length of each video?  For example, “I want one video about 8 minutes long.” Or, “We need a series of 4 videos, each about 2 minutes long.”  If you don’t know exactly the length, then estimate the range, like 8 to 10 minutes long.
  6. Do you want to interview someone — company leaders (CEO, president, manages, etc.), strategic partners, random audience or customers, or a mixture of those? How many interviews do you expect per video or total?
  7. Do you want live action coverage shots (B-Roll) of certain things happening — factory lines, people at work, customers in their environment, etc.? If so, what are you looking for, and what do you want others to see?
  8. Do you need any special graphics or animations to demonstrate a technology, a process or something futuristic that’s not created yet.
  9. Do you have an estimated budget for this piece, or range of budget?
  10. What distribution options are your considering? Website, YouTube, DVDs, Broadcast, etc.?
  11. Do you have a format preference:  Standard Definition (SD) or High Definition (HD)?  NTSC (Americas) or PAL (Europe)?

I use these questions with every new client when putting together a corporate video project.  After these questions have been answered clearly, we have a much better understanding of the client’s needs.  And, with this information, we can now begin budgeting the project much more accurately.

We then take this information and begin putting together the client proposal.  We find that our proposals are simply their information provided back to them in our own format.

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Russ Pond is the owner of Top Pup Media, LLC — a corporate video production company based in Dallas / Fort Worth, Texas providing production services for commercials, tradeshow videos, promotional spots, training media and a variety of other services.

Style Guidelines for Media Producers and Video Editors

This is a great article from Phil Cooke about creating content into today’s culture. Great information!

From Phil Cooke’s blog

In a media-driven culture, we are bombarded with advertising messages on a regular basis – some say as many as 3,000 per day. It’s a complex media jungle out there, and the truth is, that clutter is why so many programs fail today – they just can’t get noticed. Today, to “cut through the media clutter,” the best method is often a whisper, rather than a scream. At Cooke Pictures, we’ve been working lately with our clients on some guidelines for video editors to help them understand how to make their programs contemporary and effective. In that process, I was talking to the video editors at Cooke Pictures on some tips to help video editors give their programs more impact. Here’s their thoughts:

1. As a general rule, stay in touch with current television, web design, and art. Secular TV will especially expose you to current style trends and ideas. We want faith-based programming to be up-to-date, contemporary, and relevant, and keeping up with current styles and formats is the key.

2. As a form of practice, record several hours of television and watch commercials, frame by frame if necessary. We recommend you begin by copying others work and style exactly until you are able to produce the same quality. Turn off the sound, and you’ll begin to focus on the production techniques and style. Look at graphic effects, and graphic animation. At the time of this writing, “subtlety” is what’s hot. No raging, blaring graphics – just simple, clean, and stylish.

3. Enjoy art of all kinds from traditional to current. Have a “deep bench” when it comes to your own personal knowledge of design, camera framing, and art.

4. Read the latest trade magazines. Production and post magazines from the entertainment and media industries help keep you up to date on what’s working for other organizations and give you new ideas.

6. Refer to fashion magazines for the proper use of current colors and fonts. Oddly enough, these types of magazines use color and font choices well. They are a great source of ideas.

7. Keep graphics clean and simple. Again – not screaming graphics. Today, people are expecting something much more unobtrusive as they watch the program.

8. Lower 3rds and graphics should not be busy. Make them readable and clear at first glance. Lower third does not mean lower two thirds. Use you screen space wisely, and if you have too much information, either change to a full page graphic, or use two successive lower thirds. Don’t be afraid of white space.

9. Rule of thumb when creating a spot or graphic – If you don’t understand it the first time, it’s failed. Meaning: If a viewer doesn’t understand it completely on first viewing, it doesn’t work. Chances are, the audience will see your TV spot only once, so you need to be clear and simple with your art, ideas, and info.

10. Use Avid or Final Cut vendor plug-ins that make sense, just don’t use a plug-in because you have them or because they look cool. We recommend not using any until you can push pure creativity to it’s limits. The top editors rarely use plug-ins. The key thing to remember regarding the “look and feel” is that it must reflect the story you’re telling. For instance, don’t use a grainy look just to make it different. In a similar way, “wacky cam” works wonderfully well on a movie like “Man on Fire,” but on “The Gilmore Girls” it would be a huge mistake. Your shooting and editing style should not be chosen in a vacuum. It must reflect the story you’re telling.

11. Use music to enhance your work, and use it to tell a story and accentuate the visuals. Today, music is a key element in all spots, segments, and programs. Choose your music cuts carefully and be very selective. Once again – use music to help you tell the story.

12. Keep to the style guide. The programs ALL need to have a uniform look and feel. If your church or ministry has a logo design and style guide, chances are, they were created after a lengthy branding and identity process and with many factors in mind. Therefore, focus your creativity on telling a great story, or capturing a powerful message, not creating unusual and unique graphics. All producers and editors need to work together to create programs that reflect the new branding direction. Having the Photoshop and/or After Effects elements determined ahead of time will free you up to focus your time and creativity on the program itself, and not be bogged down in creating graphic templates.

We encourage all the producers, directors, and editors to have a real desire to grow and be the best you can be. The media industry is changing at light speed, and if you’re not learning, you’re falling behind.

Let’s commit to focusing our efforts on becoming the leading edge of television, and creating the format and template for what television should look like in the 21st Century.

High Definition comparison clips from HVX-200 and Canon 7D

This week, a friend and I are flying to Wisconsin to shoot some customer interviews for a client.  Over the Christmas holidays, I purchased a new Canon 7D camera.

I really want to shoot this corporate video with the Canon 7D because the visuals are quite amazing.  So, in preparation for the shoot, Allan and I did a side-by-side comparison of the two cameras using an identical lighting setup.  Here’s the HD video on Vimeo:

HVX-200 setup:

  • Scene setting 5:  720p, 24 fps, film gamma
  • Lens sizes were estimated to match 7D’s 50mm and 85mm
  • Recorded audio internally
  • Codec was DVCPro HD

Canon 7D setup:

  • HD 1080p, 24 fps
  • Lenses: Canon 50mm f1.4 and Canon 85mm f1.8
  • Recorded audio on a Tascam DR-100
  • Codec was AVC H.264

Edited in Final Cut Pro:

  • Created ProRes 422 (HQ) sequence
  • Transcoded all Canon 7D footage to ProRes 422 (HQ)
  • No color correction or exposure adjustments