Parc Entertainment - A Video Production Company - Birmingham, AL

The motivation behind the decision to transition to Red Fox Media came from two sources: First, much of the content we produce is for a client’s website. Since online video is becoming more pervasive and mainstream, more and more clients want to produce a video for their website. So, we believe that expanding our services to include website design and development is a natural move for us. Second, there have been many instances when I have been in a meeting with a client and they have asked if I provide website design services in addition to video. I have been able to pick up a handful of web design projects from these inquiries.

Although the Red Fox brand hasn’t officially launched, we have already built up a good portfolio of web projects. Most recently we soft-launched a website for Wade Sand and Gravel, a company that operates a quarry in Birmingham, Alabama and provides crushed stone to aggregate customers. They approached us because they have never had an Internet presence and were looking to create a practical, informative website for potential customers coming into the Birmingham market for construction projects.

Wade Sand and Gravel owns and operates three companies - Wade Sand and Gravel, Superior Products, and Red Bluff Sand and Gravel. We soft-launched the Wade site to meet with the client’s important bid deadline, with the plan of launching a complete package of Wade company websites at a later date. Eventually, Superior Products and Red Bluff will have their own designated sites, with a landing page that provides links to all three companies.

I love my iPhone. It’s incredible to have that many resources and tools in one device. I’m always interested in learning about new apps that can increase productivity and make my life a little more organized and efficient. Last month I posted a video about Cinemek’s storyboarding application, Hitchcock. Today I wanted to post a little information about Helios. Released last April, Helios is a tool for cinematographers that will allow you to calculate the position of the sun for any given day, at any given time, at any given location around the world. This can be an incredibly useful tool for DP’s working with natural light. Let’s say you have an exterior shoot in Grand Rapids, MI next month, but it’s overcast and rainy on your location scout . With the Helios app, you can instantly calculate where the sun will be at the exact moment of your shoot. It’s a great way to keep track of the ever-changing lighting conditions when shooting outdoors.

Business leads are great. As a young entrepreneur or freelancer, leads give you a boost of encouragement. However, those leads are worthless if you can’t keep track of them. And if you can’t keep track of them, more than likely you won’t be able to close the deal.

For me, it seems that leads start pouring in while I’m buried with other jobs, making it easier for those leads to fall between the cracks. It’s important to have some kind of management system in place so that you can organize your leads and follow up promptly.

This doesn’t have to be some sophisticated database, but it does need to provide you with some basic information:

1. Name of your potential client
2. Contact information
3. Description of the project
4. Estimated budget
5. Status of the lead

The last item on the list is one of the most important things to keep track of. It tells you how close you are to closing the deal. I also like to make a note of how my contacts find me. This helps gauge the effectiveness of my marketing strategies.

I use Evernote to manage my leads, and I keep everything in a simple list form. Using Evernote is helpful for me because the information will sync between my iPhone and my desktop. So, if I’m out on a shoot and a new lead pops up, I can quickly make a note of it on my phone and have that information when I get back to my office.

What method works best for you?

SMPTE color bars

Color bars are a necessary reference tool for anyone in video production. They help technical directors, camera operators, and editors calibrate their equipment to ensure accurate color representation and consistency across cameras and monitors. Knowing how to use them is important. A few years ago, I found a great tutorial at Video University on how to adjust your video monitor using color bars. Be sure to bookmark the article for future reference.

1. Allow the monitor to warm up for a few minutes
2. Dim the room lights and block any reflections on the monitor
3. Feed color bars to the monitor either from a camera or “house bars”from your editing system
4. Set the contrast also called “picture” to its midpoint
5. Turn the chroma also called “color” all the way down until the color bars
   are shades of black and white

Next, you will need to adjust the brightness and the contrast of the image by using the three narrow bars at the bottom right.

Brightness

Notice the three narrow bars labeled 3.5, 7.5 and 11.5 on the bottom right. Adjust the brightness control until the middle (7.5 units) pluge bar is not quite visible. The lightest bar on the right (11.5 units) should be barely visible. If it’s not visible, turn the brightness up until it becomes visible.

Since 7.5 units is as dark as video gets, you should not see any difference between the left bar (3.5 units) and the middle bar (7.5 units). There should be no dividing line between these two bars. The only division you should see is between 11.5 and 7.5

Contrast

The next step is to set the contrast control for a proper white level. To do so, turn the contrast all the way up. The white (100 unit) bar will bloom and flare. Now turn the contrast down until this white bar just begins to respond.

Color

Adjust the hue of the monitor until the Yellow bar is a lemon yellow, with no shades of orange or green. Adjust the Magenta bar until you eliminate the red and the purple. If you aren’t confident in your ability to “eye-ball” these shades, consider the following:

Many professional monitors have a blue-only switch. If your monitor has one, switch it on. If your monitor does not have a blue-only switch, you can use a piece of blue lighting gel. Hold it to your eye like a viewing lens. If you see any of the red, green or yellow colors, double the blue gel over to increase the blue effect.

By using the blue-only switch or a piece of blue gel, you have removed the red and green elements of the picture. Only the blue remains. If the tint and color (also called “hue”) are correct, you should see alternating bars of equal intensity.

1. With the blue switch on (or your blue gel in front of your eye) turn the chroma or color until the grey bar at the far left and the blue bar at the far right are of equal brightness. One trick is to match either the gray or blue bar with its sub-bar.
2. Adjust the hue control until the cyan and magenta bars are also of equal brightness.
3. You can also match either of them with their sub-bars. Now the four bars - gray, blue, cyan, and magenta should be of equal intensity. The yellow, green and red (which are black in the diagram) should be completely black.

You should now have a properly adjusted video monitor. However, if flesh tones don’t look right, you may need to make further adjustments to the chroma and hue.

Keith Krininger (left) received an extreme retail makeover

I was browsing through a back-issue of the Birmingham Business Journal and came across the following article by Lauren Cooper about a local business owner who saw his sales improve from a complete store makeover, including logo design, displays, advertising, and marketing. Many people like using the economy as an excuse to slash marketing and advertising budgets, but this particular case study demonstrates the value of good, solid marketing efforts.

Local businessman Keith Krininger said last week was a whirlwind at a few of his local Bedzzz Express stores.

With a film crew documenting every moment, representatives from mattress component manufacturer Leggett & Platt Inc. conducted an “Extreme Retail Makeover” of four of his eight stores – modeled after the television show Extreme Home Makeover.

Krininger was chosen from hundreds of mattress retailers across the country to be the Fortune 500 company’s test case in proving the industry can profit from touting the health benefits of sleep, said Mark Quinn, Leggett & Platt’s executive vice president of bedding sales and marketing .

Four of Krininger’s stores underwent a visual, marketing and process makeover, including logos, displays and advertising, to improve traffic and profitability.

And one week after its implementation, Krininger said he can tell a difference.

“Customers are responding to it,” he said. “Right off the bat, we’re selling the sheets (now offered), which I was skeptical about that.”

Sales of bed frames have noticeably changed as well, he said.

“We used to have just one, but now we have three choices and – amazing enough – if you give (the customer) the choice they’ll say ‘I don’t want the cheaper one, I want the one in the middle or the higher.”

And one of the most important shifts was in his 31 employees and sales associates, he said. The experience was exciting and invigorating for them and has expanded their thinking to new levels, he said.

Leggett & Platt’s Quinn said a lot of the credit goes to Krininger, who agreed to have his business totally up-ended.

“He’s been in business for 15 years and has been successful,” said Quinn. “But it’s a different time. If you are not willing to expand your comfort zone now, then you’re not going to do it.”

The makeover at Bedzzz Express is a great example of bringing new life to an old business plan, said Betsy Holloway, associate professor of marketing at Samford University’s Brock School of Business.

By differentiating himself and educating customers on the benefits of sleep, he’ll have a competitive advantage relative to other bedding retailers, she said.

“Before it was just the product, but now it’s the presentation, product promotion and personnel to articulate the benefit,” said Holloway. “He’s offering more value, which allows him to charge higher prices and create a higher volume. Sounds like a recipe for success.”

Krininger said his next step will be to implement the makeover in his remaining Bedzzz Express stores and to offer it to his nine licensed Bedzzz Express’ outside of Birmingham.

With that done and the national recognition within the industry he’ll get from the makeover, he’ll be able to concentrate on growing his license business beyond the state’s borders, he said.

Leggett & Platt’s Quinn said the video from the Extreme Retail Makeover will be shown at a large industry conference this spring, a Web site will be dedicated to the makeover and certain components will be offered to others in the industry.

I first saw this presentation at Doc Yankee’s Marketing Mojo blog. You can also follow Doc Yankee on Twitter. The slide show presentation is from Jay Conrad Levinson and features 90 things you can do to market yourself and your business in low-cost, but creative ways. Some items on the list won’t be for everyone, but I’m sure you will be able to find a lot of useful information.

I was listening to an internet marketing podcast recently and the hosts of the show were discussing how E-Consultancy is using Twitter to join in on public conversations related to their company. Here’s a quick synopsis of E-Consultancy, as stated on their website:

Econsultancy is a community where the world’s digital marketing and ecommerce professionals meet to sharpen their strategy, source suppliers, get quick answers, compare notes, help each other out and discover how to do everything better online.

Founded in 1999, Econsultancy has grown to become the leading source of independent advice and insight on digital marketing and ecommerce.

Our reports, events, online resources and training programmes help our 80,000+ members make better decisions, build business cases, find the best suppliers, look smart in meetings and accelerate their careers.

E-Consultancy searched for what people were saying about them on Twitter and placed a live feed of those tweets right on their home page. And there’s no content filtering, so if there are people out there with negative feelings toward E-Consultancy, those thoughts will show up right on the home page.

Just a few years ago, this practice of exposing potential customers to potentially negative reviews would be a no-no. However, in today’s social media world, this transparency might be refreshing. It demonstrates to the public that this company listens to their customers and strives to be prompt in addressing all concerns. It shows that they are engaged and tuned in to conversations about their brand.

This doesn’t mean that you have to put a live Twitter feed on your home page, but it does illustrate the point that as business owners, we have a responsibility to the people we serve. You need to be engaged in what people are saying about your brand. Listen to them. Respond in a timely manner. And always look for ways to improve your brand.

What are your thoughts about E-Consultancy’s move? Good or bad?

There’s a fine balance that has to be made between delivering a high-end product and maintaining a budget that your client finds reasonable.

Let’s say you’re getting started in your video production business and you need to keep your production costs low to attract new clients. However, you also want to create content with high production values to give the appearance that your client spent more than they actually did. You always want to go for the “wow” factor. So, how can you create videos with great production value while working with a modest budget?

1. Learn everything you can about proper cinematography techniques. One of the easiest ways to make more aesthetically-pleasing videos is to know the basic concepts of cinematography. Video production is a craft. Don’t think that you can pick up a camera and then point and shoot. You have to learn about composition, framing, camera movements, lighting. You have to learn all you can about the camera itself and its functions. Don’t take this first lesson for granted. This is a necessary pre-production task that won’t cost you anything but time, but it’s the foundation for better looking productions.
2. Capture good audio. Nothing spoils a video faster than bad audio. Make careful considerations regarding your locations. Scout them first. Listen for anything in the vicinity that could cause a problem for your audio track. If you can, hire an experienced audio mixer/boom man for your shoot. Even if the crew consists of just you and the sound guy. Trust me, it will be worth it.
3. Keep the crew to a minimum. Your production budget can really spin out of control once you start adding on grips, audio technicians, editors, etc. When you’re starting out, you will need to function as producer/writer/director/DP/editor in order to keep your costs down. However, you have to concede the fact that while you’re on location you won’t be able to do everything yourself. Start off by hiring one assistant to help you with gear. A fair rate for this individual is anywhere from $200-$350 per day, depending on his/her experience.* (a day rate is based on a 10-hour day. You can pay your assistant a half-day rate if you are on location no more than 5 hours.)
4. Develop a shot list. This is a no-cost pre-production task that will save you time while on location. Each shoot needs to run as efficiently as possible. Time is money. So, always write out a shot list before arriving on location.
5. Rehearse before shooting. The less tape you use, the less money you spend. The less footage you put on your P2 card (or other solid-state media), the less space you take up on your hard drive, meaning less money. So, always rehearse with your talent before shooting. Go over the action and the camera moves. Make sure everyone is clear on what’s to happen when the camera rolls.
6. Take advantage of DIY techniques. High-end productions utilize dollies and cranes to create smooth camera movements. Those movements look very professional on screen and ramp up the production value of any video. But that equipment costs money - a lot of money. But have no fear. There are a number of wonderful do-it-yourself resources on the web for creating the same professional look at minimal cost. Just look at our previous post about creating a dolly move without the use of a dolly. Also look at tutorials from sources like Triune Films and read DIY stuff from FilmmakerIQ. Here’s a quick tutorial on creating your own camera car mount.
7. Invest in stock footage. This will be a rather pricy upfront cost, but the resource will quickly pay for itself. Let’s face it - Shooting at the beaches of Mexico would be too expensive. Grabbing that aerial shot over the Colorado Rockies is probably out of reach. But, if you had a library of stock footage, you could quickly plug in that aerial shot when the subject matter calls for it and by doing so you can instantly increase the production value of your video. A good resource for stock footage is over at Digital Juice.

There are a number of ways to keep your costs down while giving your client a video that “wow’s” them. All it takes is a little imagination and resourcefulness. And as your business gains momentum, you can start investing in bigger crews, better cameras, and additional gear.

The term “virus” or “viral” has such negative connotations, and usually, for the sake of your health, you want to stay away from any kind of virus. But in the world of online marketing, you want your brand and your campaign to be viral. You want people linking to your content, retweeting your thoughts, embedding your videos. Viral marketing is all about spreading your identity across the web, increasing your exposure to the world.

The premise sounds simple enough: create compelling content that people will be inclined to pass along to others. But devising that content in a blogosphere numbering in the millions is far more tricky. On his blog, Thomas Baekdal shares his “7 Tricks to Viral Web Marketing” and posts several examples of successful campaigns, including a short online film series from BMW, called “The Hire.”

Now, I realize that not all of you have the money to invest in a campaign of this magnitude. Most likely you will need to create a concept that can be repeated quickly with minimal cost. In a post on this blog a few years ago, we discussed the success of the “Will It Blend?” campaign, whose concept could be produced over and over again, with minimal cost.

Take a look at the videos on Baekdal’s site. Maybe that will jump start your creativity as you think of ways to best market your company and services. Feel free to look through our archives for other interesting articles on utilizing video to propel your marketing campaign. And be sure to comment on your favorite viral videos and why you think they’re successful.

Shooting under flourescent lights while on location can be a nightmare. First, the light emitted by the bulbs creates a very flat, even, and uninteresting scene. Second, each flourescent bulb gives off light at a different frequency, which can play nasty tricks on your camera’s CCD. For those of you who have been forced to shoot under flourescents, you may have noticed that the color of your footage will gradually shift from a cooler tone to a warmer tone, then back again. Ideally, it would be best to turn off all flourescents while on location and set up your own lights to ensure maximum control over the lighting situation. However, this isn’t always an option - especially if your shoot is more run-and-gun. So, how can you best control the lighting when using your own light kit isn’t always an option?

1. The very first thing you want to do is set a MANUAL white balance. Don’t leave control of the color in the hands of the camera’s auto white balance function. This could make things worse and the color shift could become even more noticeable.
2. Try using a minus green card for your white balance. Flourescent lights will add a green tint to your scene. White balancing off of a minus green card will negate that tint and give your scene a more natural look. However, I’ve noticed that some green cards when used with certain cameras will make the scene look a little too rosy. you may have to experiment here.
3. Adjust the camera’s shutter speed to 1/120. Usually, this will sync up the camera’s shutter with the rate at which the flourescent bulbs give off light, preventing the scene from color shifting. In my experiences, this has worked well with the Canon XL-1s, Canon XL2, Panasonic DVX-100, and Panasonic HVX-200.

Those are a few tips for correcting in-camera. If you ARE able to use your own lights, here are a coupe of additional suggestions:

1. If you are able to use your own lights, but are unable to turn off the overhead flourescents, be sure to add green gel to your lights to compensate for the green tint emitted by the flourescent bulbs. Then, after adding the gel, get a manual white balance.
2. Invest in a Kino-Flo light bank. the flourescent bulbs in a Kino kit emit light at a constant color temperature, so you don’t have to worry about fluctuations in the color of your scene.

Following these suggestions will certainly help compensate for an unpleasant lighting situation. I would also suggest that you visit the forums at Cinematography.com for tons of useful information on camera techniques.