I was trying to explain to my collegues the stress and excitement about bringing a film or video production together. The intensely stimulating creativity and planning culminating in an adrenaline-fueled event that is easily 25% of the entire budget blown in a single day.
The analogy I came up trying to describe this process was building a cool model out of Legos like a Star Wars Imperial Walker. I used to love Legos growing up (limitless possibilities of the creative imagination).
A film/video production is like trying to build this model in the most difficult way imaginable. Instead of buying it in a pre-packaged unit, you have to order your pieces individually by UPC codes. You have no idea if you actually ordered the right part because you are ordering from a bunch of different people. You also don’t know if you ordered the right pieces until they show up (if they show up).
When you finally do build the model, you can only see some of the pieces while others you have to assemble behind a curtain. As soon as you start, you have only a limited amount of time to complete the model or you have to send everything back and start all over again.
It’s fun and exciting and the better you prepare, the less likely the chaos of trying to run the production will make you want to cry.
A common question for producers and clients alike is about compressing video (aka ‘encoding’). You don’t want your final video to be too big because no one is going to wait for 30 mins for your product video. Too small and you sacrifice quality. The good news is that you can decide how best to encode at the last minute IF you do one, very important thing: Record the highest quality source material.
Although the Market7 software encodes into flash for viewing and feedback, we are optimized for viewing and feedback which is probably not the same considerations you want for your video.
Four things to consider
1. Type of file Compression/Decompression (aka ‘Codec)
2. Dimensions of video
3. Quality (aka ‘Bitrate’)
4. Container (Quicktime, Windows Media, Flash, etc.)
1. Codec – The codec is just the way the video is compressed. It is a bunch of math rules used to reduce the video’s size. On the receiving end, the reverse calculation is done to restore the video as close as possible to the original. Different codecs = different math (and a different result) I prefer the H264 encoding as the best all-around codec but it is relatively newer than, for example, MPEG codec so some computers may not be able to play videos with the H264 codec.
2. Dimensions – This is really a matter of preference. Smaller dimensions = smaller file size (faster loading) but it also means pixelation if you try to display it at a larger dimension than which it was saved at.
3. Quality – This is a tricky one especially since you can have variable bit rate and frame rates. This is where you can make small adjustments to get your video looking just right at an acceptable size. Lowering the frame rate will make the video appear choppy but for some videos this is fine. Lowering the bit rate will reduce the quality of each frame.
4. Container – Your consideration about container should be what the audience is willing/able to view. You should only be using containers you are sure won’t be a problem. Flash, Quicktime, Windows Media, and AVI are the most ubiquitous. For purposes of comparison and utility, all of the above videos were in the Flash Video (.flv) container. This is the same container we use in the Market7 service for the same reason: To ensure everyone can watch the uploaded content.
Pretend you want to build a nice, 2nd story deck for your home. If this deck was your video and you spent $10,000 on it, where would your money go?…
$1500 to hire an architect (Writer) and a contractor (Producer)
The script is like the plans for the deck. Writing this blueprint is one of the smallest costs so it is especially important to get this right.
How to keep costs under control in this area (pre production) -
Take your time hiring the right producer/director for the job
Hire a writer who is also a producer. (Architect + Contractor in one)
More time scripting = less confusion during production (accurate plans)
Get everyone in planning meetings so you have fewer of them. (fewer cross-town trips)
If you need a studio, hire a company that has one
If you need to shoot in a specific format (like HD) hire someone who has the equipment
$3500 for the contractor and his/her team to build the basic structure (production day)
There are a lot of resources needed at a place and time for the production to go well. Most crews and talent are booked for the day so there is no discount for finishing early.
How to keep costs under control in this area (production) -
Make sure you have all client stakeholders sign off on the plan for the video. (Homeowner AND Spouse)
Make sure everyone agrees on the details. (don’t assume they won’t care about the stain)
Schedule a rehearsal, show the client. (A “tester” sample of the work)
Record excellent audio. (Like wiring your deck for lighting as it is built)
$4000 for the contractor to complete and finish the deck (editing and sound)
Cost here is sheer time it takes for a good editor to do his/her work. Many hours are spent sifting through footage and cutting together the best video for your review. Included in this cost is the sound design (music and sound effects) and output rendering.
How to keep costs under control in this area (post production) -
Don’t shoot extra during production, just capture what you need
Collect the entire list of feedback before the editor makes any changes
Descriptive and specific feedback (“can you make the deck more intense?” doesn’t say much)
Deliver assets to editor on time (logos, stock footage, etc.)
Deliver music to editor beforehand (if applicable)
$1000 or more on the finishing touches
Costs can vary significantly for finishing visual and audio effects. It is also not only the hardest to estimate, but costs can quickly spiral out of control.
How to keep costs under control in this area (post production effects) -
Completely script graphic sequences like open and close beforehand
Take precautions during greenscreen shoot so that you can pull a nice key later
Hire someone that knows what they are doing for complex visual effects
Eliminate any other special effects that don’t contribute to the story
For our $10,000 project, here are some sample additional costs
- Greenscreen on location $1000 per day
- Greenscreen studio $2000 per day
- Matchmoving $1000
- 3D modeling $1500
- Music track $750
- Voiceover track $750
- Sound Effects $500
- Compositing $1500
- Motion Graphics $1500
- Cleaning up poorly recorded sound $750
Now, you have built your video and it is sturdy and stunning. Now you are ready for the party!
What is a longshot? No, not my favorite pony bet. It’s a camera framing description. Here I break down all the different types of shots and what they look like and when you would want to use them. I have also provided a cheat sheet so you can impress all of your friends at your upcoming video production parties.
It’s five minutes before the big client meeting. You are a bit nervous but prepared…or are you?
Who are you dealing with? A Lion/orange (Action-oriented risk-taker)? A Monkey/blue (Compassionate connector)? A Turtle/gold (Responsible organizer)? or a Giraffe/green (Thinker)?
When presenting a project to a prospective client, keep their personality type in mind and adjust your pitch to appeal to their specific interest points. Here is a short video of how to handle each type.
If a tree captured on video falls in the woods, does it make a (good) sound? The basics of sound are explored after which you will be able to literally hear a pin drop:
“Why do I need a greenscreen?” A short primer on greenscreen basics. After you watch this, you will be able to impress your friends with fancy words like CYCLORAMA and CHROMA KEY. And maybe even be able to make an informed decision or two about whether to shoot your video on greenscreen or not.
