Parc Entertainment - A Video Production Company - Birmingham, AL

I talk with many prospective clients who express interest in producing a video for their business. When all the discussions are over it’s time to sit down, fill out my budget, and submit the proposal to my contact. The cost of a video production is affected by several factors and so the budgeting process must be thought out very carefully. Otherwise, it can be easy to overlook certain items.

I have created a spreadsheet that itemizes just about everything that one could possibly have on a shoot. Those items are divided into categories for easy reference (Creative Fees, Crew, Per Diems, Travel, Editing Fees, etc.) One column lists my estimated costs and another column lists my actual costs. That way, at the end of the shoot I can compare both columns to see how accurate my original estimate was.

The main thing to do when budgeting a video shoot is to prioritize. In part one of this two-part series, I want to cover what I believe are your top priorities when creating a budget. In part two, I will go over those items in the bid that can easily be overlooked. Here are my suggestions:

Estimate Your Time

Start with yourself. Think about the amount of time that you will spend on this video project. Obviously you want to include the amount of time in production , but you never want to neglect the time you invest in the pre-production and post-production stages. Pre-Production includes conceptualization and scripting, scheduling the shoot, meeting with the client, scouting, meeting with the talent, and meeting with your crew. You’ll spend more time in pre-production than you might think, so budget accordingly. Post-production not only includes the time to edit, but it also includes your time to record the voice-over, meet with the client to go over the edit and make necessary changes. I always like to pad my post-production budget to account for revisions the client might ask for.

Estimate For Your Crew

After you ensure that your time is reflected in the budget, you want to allocate monies for your crew. Surround yourself with quality people and the entire project will turn out much better. Think about how many people you will need and how many days you will need them.

• If you aren’t as confident in your skills behind the camera, consider hiring a DP to handle the technical aspects of lighting, framing, etc.
• If you aren’t as confident in your abilities to manage the project and handle all the logistics of a production, consider hiring a producer.
• If you have on-camera talent, you might consider hiring a hair/make-up artist.

Aside from actual shooting days, will you need the crew to come in early for a tech scout? If so, make sure they are paid for their time. And don’t forget your post-production crew.

• Will you need an assistant editor to help you with the final cut?
• How about an audio engineer/mixer to record the voice-over?
• Will you need to hire a graphic designer to create a custom disc label and DVD warp-around?
• Will you need to hire a composer to write a custom music track?

Estimate Your Equipment

This is where you need to factor in the costs of any equipment rentals your shoot may require. Budgeting for a dolly or a camera jib will really increase the overall production quality of your video. In this category you also want to factor in the cost of your media:

• tape stock or solid state media cards
• hard drives
• blank DVDs (for when you need to send your client copies of the video for review)

Check back in on Monday, August 10 for part two on how to create a video production budget.

I’ve heard it said that video production is 75% furniture moving. There’s a lot of truth in that statement. Shooting on location can be a very intrusive process. There’s a lot of people, a lot of gear, and a lot of commotion. A lot of re-adjusting takes place while on location to make room for the camera, the lights, the crew, etc. Many times I will arrive on location to shoot a corporate video and my client can’t believe the amount of gear my crew and I have brought with us. If your company has hired a video production company to come out and profile your business, it’s important to know what to expect and how to prepare.

In previous articles I have gone over important tips for mapping out your entire production project and scheduling individual shooting days. In this article, I would like to give some advice on how to prepare your office before the production company arrives.

Coordinate

If you work for a large corporation, more than likely you will have to reserve areas of your office in advance. Talk to your office manager. Make sure he/she has the video shoot written on the calendar. Find out which rooms in the building are available and which are not. There have been moments when my crew and I spent valuable time just walking around with my contact trying to find available rooms in which to shoot.

Communicate

Make sure other employees in the office know about the shoot well in advance. Let them know what’s expected of them. Let them know which areas of the office the production company will be using. Make sure that everyone comes to work that particular day dressed appropriately. There have been days when my crew and I have arrived on location, only to discover that no one else other than my contact knew we were coming.

Think Aesthetically

When conducting employee interviews or client testimonials, a video production company will seek out those places in your office that look the best. Usually, a producer and/or director will scout your offices before the shoot, but budget constraints can sometimes prevent a tech scout. So that means it’s up to you to have areas in your office prepared before the production company arrives. Here are a few things to consider:

1. Look for areas in your office that have character and color. Conference rooms are usually bland and therefore not a great option for conducting on-camera interviews.
2. If you have to use a room without much color, can you bring items in from other areas in your office to dress up the set? Artwork, plants, pictures, books? Look for anything that can support the look and the subject matter of your video.
3. Remove any unwanted posters, etc. from the room. Look out for anything in the background that advertises someone else’s brand.

Think Spatially

As mentioned previously, video production can be intrusive. The crew will need furniture and other items moved in order to make room for equipment. Find those areas in your office that provide the most space in which to work. Find out what furniture can and cannot be moved. Also, make note of the most convenient elevators, service ramps, loading docks, etc. to help the crew maintain efficiency as they move in and out of the office.

The most important part of the video production process happens well before the camera starts rolling. A well executed pre-production ensures a more enjoyable and efficient production experience for all involved.

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.

Many of our video projects are shot on location, but every so often we have an opportunity to so some green screen work for a client. Shooting a subject against a green screen will allow the video editor to remove the green background and replace it with another of his or her choosing. Green screens are used every day on the evening news when the weatherman delivers the forecast.

Working with a green screen can be tricky, because if not done correctly, you will have nightmares in post production as you try to key out the screen and insert your own background. My recommendation is to shoot some practice footage first before you start work with your client.  Here are a few things I’ve learned from my experiences:

1. The green screen should have no wrinkles or folds. Any imperfections across the surface of the green screen will result in shadows and hard lines that will be difficult to key out in post.
2. The green screen should be evenly lit. There should be no shadows and no fall off. The light should be soft and diffused. A light meter will help ensure accuracy.
3. Create distance between the subject and the green screen. Any light reflecting off the green screen and onto the subject should be eliminated. If not, your subject’s edges will have a green glow when the screen is keyed out. Move your subject as far away from the screen as possible. Then use flags to block any reflected light coming from the screen.
4. Shoot on a format with the highest-rated color space possible. MiniDV has a color space of 4:1:1. You can use it for green screen work, but it isn’t the best option. Just be aware that there will be some challenges in keying with MiniDV footage. The edges on your subject won’t be perfectly clean. However, if your video is intended only for the web, MiniDV will work for you. Consider this video we produced. It was shot on MiniDV and the client was satisfied with the green screen work. Formats like DVCPro and DVCProHD have a color space of 4:2:2, making them better for keying.

Learning the proper video production techniques takes practice. There’s always something new to learn and the more time you spend shooting and editing, the better your craft will be.

Last night marked the end of production for my latest short film If Only. I think everyone is relieved that we have finally wrapped. This particular project was plagued with delays and some unexpected problems, but I feel confident that we will make a solid film with high production values.

I have made several short films over the years and I have learned a lot about no-budget independent filmmaking. So, for those who also share my passio, allow me to pass on a few lessons that will hopefully help you in your endeavors.

Don’t let the lack of money prohibit you from getting out and making films. If you have something to say, then say it. But also remember that low-budget

1. Low budget doesn’t mean low production value. The fact that you have little or no money doesn’t autmatically mean that your film will look horrible. But you have to study the ins and outs of cinematography. Ask questions. Practice your craft. Learn by watching what others are doing. Solid execution will give the impression that you spent more than you actually did.
2. Surround yourself with knowledgeable people. In 2004 I wanted to produce a short comedy. However, I was just getting back into production full-time and I didn’t know too many local filmmakers. So I decided to take on every behind-the-scenes role myself. I was the writer, director, producer, editor, cinematographer… I did everything, and as a result the quality of the film suffered. When you make it a goal to direct your film, recruit others to work in key positions. For example, having a talented DP on set to light the scene and run the camera will give you much-needed time to rehearse and direct your actors. It’s easy to get caught up in the technical details and neglect the performances from your talent, unless you have others working with you on set.
3. Things will not go as planned. This is true of even the biggest Hollywood blockbuster, but even more so on low-budget short films. Expect the unexpected. A location will not be available when you need it to be available. An actor will have to reschedule at the last minute because of a conflict with his or her day job. You will get rained out. The police will tell you to shut the whole thing down. You will be forced to eliminate certain camera set-ups (or perhaps entire scenes) due to uncontrollable circumstances. That’s just the way it goes.
4. Always have a plan “B.” This point is a direct result of point #3. When things go wrong, you need to have a contingency plan in place. If it rains and you have to be outside, how can you re-work the story to incorporate the rain? When the owner of a location needs to pull the plug on you for some unforeseen reason, what can you do to complete the scene? A good producer will help you think through these potential problems before they even happen, so it’s important to go over these issues in pre-production.
5. Maintain a comfortable pace while in production. When everyone is getting paid thousands (or even millions) of dollars to be involved with a movie, you can afford to work everyone for 16 hours a day, six days a week. However, when you’re on a low-budget short and everyone is working for free, it’s important to remember that they are doing you a tremendous favor by being involved with your film. Pad out the shooting schedule so it isn’t too demanding. At the same time, be up front with those involved and remind them that filmmaking is a time intensive process. You can’t shoot a five-minute film in thirty minutes. Be respectful of their time, and be honest about expectations.

In my experiences as an independent filmmaker living in Birmingham, I have met a lot of gracious, wonderful people who are eager to see the production industry thrive in this region. And I’m certain that in your own film projects, you will be just as fortunate. Be professional, prepared, courteous, and respectful, and people will want to work with you again and again.

We started production on my latest short film, “If Only” on April 19. We were forced to postpone subsequent shooting days due to bad weather. Finally, the entire cast and crew was able to re-convene this past weekend in an effort to wrap up shooting. Things went along beautifully until we were forced to wrap early Sunday night. Fortunately we have been able to schedule one final day of shooting next month. Here’s hoping we don’t run into any more delays. Enjoy a few production stills from the weekend’s shoot. Thanks to everyone for their hard work. 

A majority of my first post on acting for the camera dealt with preparations the actor makes in order to find work. For the purposes of today’s post, imagine that you’ve landed the role. What do directors and producers expect of you throughout the production process?

1. A Strong Work Ethic - Whether you are getting paid for your time or you are donating your talents for the experience, you need to demonstrate an eagerness for the project. This includes: a) Arriving on time for all rehearsals and shooting dates, b) Memorizing your lines, c) Remaining courteous to everyone involved, d) Being mature and professional. We’ve all seen those “behind-the-scenes” documentaries of actors joking around on set. There’s certainly a place for that, but don’t let it hinder the process of filmmaking.
2. A Willingness to Listen - When the director critiques your performance, don’t get defensive. Listen and acknowledge that direction. Don’t make excuses. Don’t tell the director why he/she is wrong. Effective communication begins with listening.
3. A Willingness to Collaborate - As a director, I enjoy getting input from my actors. I expect them to come to the project with their own ideas and suggestions. I realize that not every idea fits with my vision, but I also know that some suggestions will make the film better. I welcome that creative collaboration. As an actor, you need to study the material. Be prepared to offer your opinions. It shows the director that you care about making the best film possible.

The process of filmmaking is extremely demanding, yet extremely rewarding. Being professional, courteous, and hard-working will go a long way toward landing you that next acting job.

In a post last week I discussed how camera operators should always properly prep and label tapes in an effort to make post-production a more efficient process. In today’s discussion I want to mention how patient camera work is vital to an editor.

Ideally, any director of photographer would love to have control over the location - lighting, grip, camera movements, etc. but by nature, some projects are suited for a documentary approach. This means that you have to capture the action as it happens, and often you get no second chances. Some cinematographers thrive on this run-and-gun approach, but others feel stressed by the environment, worried that they will miss something vital. Those that feel a bit panicky will often shoot footage that never seems to settle. This is a nightmare for editors, because they never have a really nice steady shot to work with.

So, the word of the day for aspiring cinematographers and camera operators is “patience.” Once you frame up a shot and get your focus, let the shot linger. Give the editor plenty of pre-roll and post-roll that can be used in the final piece. Even if some loud commotion from behind startles you, don’t be too quick to whip the camera over to see what’s going on. Get your shot first, then pan over to capture the other scene. If you spend your day constantly whipping the camera around from shot to shot, you won’t capture anything meaningful for the editor. As a documentarian, there will be things you miss. It’s inevitable. But sometimes, choosing not to shoot something leads to capturing a truly remarkable moment in places you least expect.

It can be incredibly monotonous to sort through raw footage, especially if the director of photography has failed to properly prep and label the tapes. Imagine sitting at your work station trying to organize footage that has broken time code, mismatched labels (or worse yet, no labels at all), or labels with incredbily vague information (like “Tape 1.”) Any good cinematographer should always think of the editor when prepping for a shoot. It will make post-production a much more efficient process. Here are some important tips to remember:

1. Pack Each Tape - When you unwrap a brand new tape, fast-forward all the way to the end, then rewind all the way to the beginning. This method of “packing” the tape is much like an athlete stretching before an event. It will help prevent drop-out and digital artifacting.
2. Stripe Each Tape - Pop the tape into the camera and roll about 15-30 seconds of color bars and 1KHz audio tone. This will help the editor calibrate his/her equipment before capturing the footage.
3. Label Each Tape - It’s amazing how often people simply forget to label the tape, or they neglect to put enough information on the label. Always label both the case and the tape itself. On the label I like to write the client’s name, the project name (and a project number, if applicable), the date, and the tape number.
4. Preset the Timecode - Set the “hours” mark of your timecode to correspond with the tape number. Tape #1 should be, “1:00:00:00,” Tape #2 should be, “2:00:00:00,” and so on. That way, when the editor is looking at the footage in studio, he/she can tell instantly from which tape a particular scene came. Also, if someone ignores tip #3, an editor will know instantly what number tape he/she has in the deck.

Video Production is a collaborative process and a professional courtesy is always appreciated.

Editors are happy when they have plenty of footage to work with in post-production. Shooting multiple angles of a particular scene is called coverage, and whether you are producing your own film, or shooting a long-format marketing video, getting good coverage has many benefits:

1. Flexibility - Ample amounts of raw footage gives your editor many options for structuring the story.
2. Variety - Staring at the same shot for too long can bore some viewers. You want your video or film project to engage and entertain and the right amount of coverage will offer fresh perspectives to your audience.
3. Control - In your narrative film project, your main character picks up the newspaper and stares in horror at the headline. The information in the article is a vital part of your plot. So, did you remember to get a cutaway shot of the headline? Shooting the right amount of coverage gives you control over the story. It allows you to direct your audience’s attention to what you want them to see or to understand.

Here are some things to keep in mind about shooting coverage:

1. Scout - Go to the location where you will be filming. Look around. Start blocking the scene. Figure out where you would like to place your camera. How many set-ups will you need? Once you have done your initial scout, make some time closer to the shooting date when you can conduct a tech scout. This is when you and your production team do a final walk-through of the location to discuss each set-up.
2. Utilize Set-Ups - Consider how you can combine multiple coverage shots with one camera set up. For example, if the camera has been set up for a wide dolly shot, can you keep the camera where it is and shoot a lock-down close up as well? How about a pick-up shot of that file folder in your actor’s hand? Can you raise the camera up more on the tripod and get a high-angle establishing shot? Combining coverage shots into one set up will save a lot of time.
3. Start Wide & Work In - It’s always a good idea to get the establishing shots first. Then you can push in and reset the camera for your close-ups and cutaways. That way, if your day runs too long and you lose the location, you will at least have establishing shots in the can. Imagine losing the location and all you have are extreme close-ups and cutaways. The viewer will be disoriented and won’t know the location, the characters in the scene, the time of day, etc.

Taking the time to prepare by scouting and creating a detailed shot list will ensure that you get the coverage you need for each scene. That will make you editor very happy. And it will give you a much better product.