A Video Virgin, You Say?
Tips for a pleasurable first-time experience
in getting your video made
by Sam Russell, Russell and Company
So one of the things on your "To Do" list is to get a video made? And you've never been any closer to producing a video than adjusting the knobs on your television set? If this is the case, read on! There are a few pitfalls you might wish to avoid and some leading questions to ask yourself before embarking on your venture. In answering them to your own satisfaction, I think you may find that being involved in the production of a video can be a fun as well as productive experience.
Regarding the pitfalls, here are three to watch out for. They involve misconceptions about the effective use of video or the production process, which could result in unwise decisions.
Pitfall #1. "All we need is a good video!"
I call this a pitfall only because it is incomplete. A video alone is simply a communications tool. To be effective it must be well conceived and, once produced, must be distributed and used effectively. This second part, distribution and use, is key and should be considered first. Knowing how the production will be used will influence the shape of the production itself. Here is an example of putting video to excellent use in a very specific way.
Rider University wished to increase its student enrollment but did not wish to lower admission standards. So it contracted for a video and send a copy to every student that was offered admission. Included were bits on academics, student life, activities, and career potentials. Its aim was to make the student and his parents feel comfortable about a decision to go to Rider.
It was a good idea and not expensive when you think about it. The cassettes cost under $5. each and, with return postage included, Rider got almost 80% back. Now, if you had received acceptances from three or four colleges and one sent you a video that made you feel comfortable and positive, which college would you favor? The plan was well conceived and allowed us as producers to focus on that student out there. watching. deciding.
It worked! Enrollment increased.
Pitfall #2. "We'll do it ourselves. We'll get one of those neat little camcorders!"
If you wish simply to record an event, do role play, or perhaps rehearse a speech, this can be the way to go. However, if you intend the video to establish or change some attitudes of your audience, you'd be better served by a seasoned, professional producer.
In the early days of videotape recording, certain major corporations invested millions of dollars in television production facilities. Their intention was to have the in-house capability to produce their own marketing or training videotapes, thus assuring quality at a reasonable cost. To the surprise of company officials, video productions were uninspired and the expensive facilities and supporting staffs often languished as a result.
Today, the ante is quite low. For a few thousand dollars you can go out and buy a good video camera and editing system. But the result can be the same. You have just bought the tools of the medium. For a writer, it's like buying the pencils, paper and, ah yes, the word processor. But having these tools does automatically endow one with the craftsmanship to use them!
This may seem like an obvious point, yet I have seen the division head of a major communications company make just such a decision.
Pitfall #3. "We'll get it done the cheapest way... get the lowest bidder!"
I have taken calls from potential clients, asking about our services and how much they cost. And sometimes I hear, almost immediately, "Oh, that's too much, that's out of our range." The door may close right at this point without the caller ever knowing of the possibilities. A good video program may be more expensive than one produced at bargain prices, but its benefits can return the investment many times over. So try suspending judgment on price at the outset. Discover what it is that will best fulfill your needs. Then tackle your budget. Remember, an ill-conceived production that doesn't work well and that no one wants to use is worth nothing!
I recall being at a bidders' briefing at a division of IBM. Several video producers had been invited to discuss a video on business ethics for the division. The personnel director was outlining his needs and it seemed the producers in the room were estimating the price of his project in the $30,000. to $50,000. range. But it seemed to me that he had a much lower figure in mind. Not pussyfooting around, I commented on what I thought the price range might be. He fairly exploded, "Well, I don't care how wonderfully creative you all are, I would never consider anything over $5,000.!"
The proposal I submitted quoted a higher price than that and argued that, if the video could preclude even one corporate embarrassment over the ethical slip of one of its employees, it could be worth many times the price of the production. A contract was never let.
So, let's assume you are ready to proceed with the production of your video and have decided to have it produced professionally. Here are the leading questions I suggest you ask of yourself.
Question #1. How should I select a producer?
Keep three things in mind when selecting a producer: the quality of work, liking the approach, and "chemistry."
Ask to see the producers' past work. Have them choose what they believe represents them best and what's most relevant to your needs. In viewing this work, trust your own instincts. Do you like it? Does it work its purpose with you convincingly? Or, is it self-conscious, drawing attention to itself by being too "sell-y," too tricky with its effects, or just poorly made. A good production will have a seamless quality; it will draw you in the way a good movie does and you will be unaware of its technical workings. Its message, however, will be clear.
Regarding approach, it is crucial that it be very clear and that you like it. A good production will have structure, a thematic spine, just as a good book does. We often portray it as the clothesline upon which you hang all the facts and details.
On chemistry, it is important that you feel that you can have a good working relationship with the producer(s). It's best if there is a sense of rapport... which can almost be measured as a "comfort factor." The best productions are those in which there has been a very good relationship and interaction between the client and producer.
Question #2. How should I prepare to meet with a producer?
I'd like to share with you my best experience with a potential client, in this case a school. It stands out for me as the best first step an organization could take.
We were invited to the school. We were met by the headmaster, his wife, the director and assistant director of admissions, and the director and assistant director of development. We got to know everybody over lunch, and later sat down to a more formal meeting. The questions came at us fast: How do we get started? How do you form your approach? What is the production process? Are there advantages of film over video? How much does each cost? How long does it take to produce? What happens when you come here to shoot the film? How should we be involved?
We answered, discussed approaches and asked questions of our own: What do you want the program to do for you? What special qualities of the school do you wish to highlight? If you could have your audience walk away with but one thought or attitude about your school, what would you like it to be?
We covered a wide range of topics in an open and lively meeting. We were challenged to answer all the questions, and in return got a wonderful sense of the school and a feeling, other than business, that we would really like to do the film. It was a good start and the next steps were evident. I believe it worked so well because the school hadn't fixed on what the film "had to be." Instead, the meeting was about asking and about finding out.
Question #3. "How do I work with a producer?"
In a real sense, you and the producer(s) will be creating concepts and a program together. Thus, the working relationship must be open and interactive. But keep in mind that the producer will be making your program for your use. Don't be lead astray with ideas that, in your gut, you don't buy. The producer's job is to understand your needs and to create a program that will meet them effectively.
Here is an outline of how you might proceed:
Initial Meeting. As above, explore the purpose of the video project. How is the video to be used? To whom it is to be shown? What it is to accomplish? What are the thematic and stylistic considerations? Discuss ideas and approaches, working toward a concept. Discuss budgetary factors and a basis for pricing (fixed price or time and materials.) From this initial meeting, the producer should have enough information to prepare a proposal to you.
Proposal. A good proposal will spell out in some detail the producers approach, the services he will provide, materials he will deliver, a project schedule, and a price quotation.
Pre-production. Pre-production includes all concept development and planning prior to any shooting. During this phase the producer might prepare a treatment (a visual narrative,) script, storyboard and/or production plan. There may also be film archive research, location scouting, casting of professional talent, and the selecting of a special production team. This is the critical phase where you and the producer will cast the shape of your production. Work closely with your producer. Give as much input as you can on all matters requiring decisions.
Production. This phase includes the shooting, either in a studio or on location. Plan to participate in all shoots as, frequently, many decisions are made during shooting.
Post-production. Post production is the assembly of all production elements into a final approved master tape. It includes off-line editing, narration recording, music selection, audio mixing, title graphics, final on-line editing and mastering. The off-line edit is a rough draft of the program and may be screened for your comments. There is still time for minor changes and adjustments, since the producer will not have yet invested the time in final trimming and polishing. . Review the rough cut very carefully with the idea that you want to have the finished version completely to your liking. Have others review it with you also. Make known your preferences on a narrator voice, music, and graphics if they have not been settled on previously.
The producer will screen the final version for you and may still be able to incorporate minor adjustments at this point without price impact to you. But remember, the best time for major changes is in the pre-production phase when nothing is cast firmly. As with many things, the further down the production line you go, the more expensive the changes become.
Question #4. What are the hallmarks of an effective video?
There are several. First, it is original. It doesn't try to imitate programs seen on television, unless the subject match is so good that it is really compelling, funny, ironic, or otherwise appropriate. Imitation often reveals itself as just that and generally doesn't come off as well as the original.
Secondly, it is real. Sometimes a documentary style of production works particularly well. Although it may be more expensive than a narrated presentation - it requires more shooting and editing time - it has many advantages. Chiefly, it lends a sense of authenticity unmatched by other approaches.
Finally, and this is the bottom line, it works. It is interesting, credible, compelling, and it achieves its purpose fully. The things that make it good are the clarity of its objectives, knowledge of how and to whom it will be shown, the quality of the ideas in its concept, and the craftsmanship and care its producers have taken. It knows where it's going and it continually pursues its goal.
So, good luck in your first video endeavor. Above all, trust your own instincts and those of your colleagues. We all see so much television and video that we are pretty good judges of what is effective. The medium generally works beyond the realm of intellectual thought and your own, true feelings will be your most important and effective guide.
