Parc Entertainment - A Video Production Company - Birmingham, AL

In the summer of 2010 Parc Entertainment changed its name to Red Fox Media to reflect a growing area of the business. In addition to video production and post-production services, Red Fox Media also offers website design and development to is clients. Please visit the Red Fox Media website to learn more about the company and to see samples of their recent work.

In the summer of 2010 Parc Entertainment changed its name to Red Fox Media to reflect a growing area of the business. In addition to video production and post-production services, Red Fox Media also offers website design and development to is clients. Please visit the Red Fox Media website to learn more about the company and to see samples of their recent work.

Parc Entertainment is now Red Fox Media. We have changed names to reflect a growing area of our business. In addition to our video production and post-production services, we offer website design and development. The name change has been a year in the making. You can now visit us at our new website to see samples of our work. Please consider us a resource for any future marketing and communication efforts.

It’s interesting to sit back and watch the ebb and flow of the marketplace. Regardless of your industry, markets will inevitably undergo various shifts and changes. Video production is no different. The way in which the public consumes video content is much different now than it was seven years ago. DVRs, video hosting sites, smartphones, the iPad, etc. have all contributed to this changing trend.

As a result, video producers have had to rethink how the content is created. Now, viewers want fresh content on a regular basis. They want something that feels authentic. They want businesses to converse WITH them, not sell TO them. They want valuable content that proves helpful in their own personal and professional pursuits. This change in viewer tastes means that businesses need to produce video content regularly, which is a good thing for a video production business. But it also means that businesses can’t afford to spend too much on each video. I’ve worked on a great number of video projects that involve three to six weeks of pre-production (research, pre-interviews, creative strategy sessions, script writing, etc.), five days of shooting, and up to sixty hours of post. This kind of video still has its place, but what about a client who is interested in producing a video podcast, or a quick online welcome video, or a product demonstration, or a testimonial video?

As a result of this shifting trend, we have developed a series of corporate video packages that are designed for the business interested in updating their video content on a regular basis. The packages are attractive and affordable, but most importantly, they maintain high production standards. If you’re interested in learning more, there are several ways to get in touch with us. You can leave a comment here, follow us on Twitter, become our fan on Facebook, or sign up for our free monthly e-newsletter.

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I believe that the most exciting thing about the video production process for any client is when they get to see everything come together in post-production. Editing, in a sense, is a form of writing, because it is up to the editor to find the story among hours of footage, then assemble those elements into a coherent whole. Sometimes the final product follows the original script line by line. However, sometimes the final video may bear little resemblance to the original script. That’s because a new and better story can often emerge as the editor and the client sift through the footage. Those that enter post-production with an open mind can often find a new angle to the story that was never thought of previously. And that can be a very good thing. That’s why it’s important to allocate a good portion of your budget for post-production. Things can become very fluid as the client, the producer, and the editor experiment with different possibilities, so you want to be prepared. Anticipate change. More than likely, you and your team will request changes to the edit. Also keep in mind that in a very complicated video (i.e. heavy compositing, layers, effects, etc.) the smallest change can be incredibly time-consuming for an editor to make. He/She will need time to remove old footage, find and insert new footage, apply the same effects, color correction, titles, etc. Then, the video must be rendered out so you can preview the new version. Turn-around time for certain changes might take longer than you initially expect, so be sure you and your team avoid waiting until the 11th hour to request changes, if at all possible. Neither you nor your video production company want to miss a deadline.

PoshBirmingham.com is a website that features incentives from the finest retailers and restaurants in the Birmingham area. The website should launch in the next week, but to help raise awareness and drive traffic to the site, we were hired to produce a series of commercials. We created four commercials for Posh Birmingham - two :30 spots, one :15 spot, and one :05 spot. Some spots focus on the retailers, while others focus on the restaurants. The :30 spot posted below is one advertising some of the retailers you can find on PoshBirmingham.com.

I’m excited to say that we’ve added another camera to our video arsenal. We recently acquired the Canon T2i, a great DSLR that shoots full frame 1920×1080p HD video in variable frame rates. Last weekend I spent some time shooting test footage, so I could get to know the camera a little better. Then I brought the raw footage into my editing system to see if I could establish a good workflow. Below are three clips I shot over the weekend. Here are some of my first impressions with the camera:

1. The shallow depth of field that you can get with these cameras is pretty remarkable.
2. Boosting the ISO will always add more grain to your shot. If you are shooting indoors and you don’t want a lot of grain in your image, keep the ISO as low as you can and add more light to your scene.
3. It’s a good idea to invest in some neutral density filters for exterior shooting. Using ND filters will allow you to keep your shutter speed at a slower setting. Increasing the shutter speed will cause your video to strobe more, creating a very staccato feel. Of course, this might be just the effect you are looking for.
4. Unless you are using Premiere Pro CS5, you will probably need to use some intermediate codec to convert the native MOV files into a format that your NLE can work with.
5. The T2i provides manual control over exposure and focus, and offers three different HD movie modes - 1080p/30fps, 1080p/24fps, and 720p/60fps. There doesn’t seem to be any manual control over white balance, but if you know of a way to change it, let me know.
6. Establishing rock-solid focus marks for your scene will be difficult without adding some kind of follow-focus system on to your camera. It’s not impossible, but it will take some rehearsing.
7. Make sure you purchase SDHC cards with fast transfer speeds. That will ensure better recording and better playback.
8. I love the LCD screen. Very large, very clear.
9. The ergonomics of hand-holding the camera isn’t as awkward as some people make it out to be. Is it different? Yes, but you can easily adapt.
10. The image stabilization in both the kit 18-55mm lens and the 50-250mm lens seem to respond very well. I didn’t use a tripod on any of my test shoots and was pleased with how the IS in each lens reduced hand shake.

Again, these are simply my initial impressions and observations. I’m sure I will post more as I start using the camera on client projects.

In my experiences as a video producer and director, I have learned that clients can fall under two extremes: On one end of the spectrum are clients who are heavily involved in every stage of the process.  On the other end of the spectrum are the clients who take a “hands off” approach. They approve the creative strategy and then let the production company produce the video. Then, they will come back in during the editing process to give notes. And, of course, there are clients who will fall somewhere in the middle.

Ultimately, it’s your responsibility as a producer/director to give the client what they want. You need to recognize their particular work habits and learn to adapt accordingly. But if you are faced with a client who prefers a “hands off” approach it can be difficult to determine if you are on the right track. You could be faced with a big problem if you have already shot all of your footage and invested a lot of time in the edit only to discover that your client didn’t like the way you shot a particular scene. Or they might not like the wording of the script in a particular section. Or they might not like the look of a certain location. However, there are things that both the client and the video director can do to avoid costly re-shoots or extra time in the editing suite.

Directors, don’t ignore the client while on set. If you see that they are standing off by themselves, encourage them to come over and take a look at each shot before you start filming. Ask them if the lighting, framing, blocking, etc. is what they had in mind. Before moving on to another scene, ask the client if there is any other shot that they need before wrapping the gear. Clients, make sure that someone from your team is on location to supervise the shoot. Don’t be afraid to look over the director’s shoulder. Ask questions. Be honest about what you would like to see. Make sure that the footage you are getting is the footage you want. Better to have the footage and not need it, than need it and not have it.

Ultimately, a video production is a collaborative process, so both parties should respect each other and listen to any creative input. The client and the production company both want to produce the best video possible. And that’s some common ground from which to start.

I started this blog in the summer of 2005 as an outlet to express my love of films and filmmaking. It soon evolved into an extension of my production company. However, in the time that I have been posting on this blog, I don’t think I have ever explained why I write and to whom I’m writing. In short, the purpose of this blog is to give you, the reader, some insight into the world of video production and how video can be used to its potential. My target audience consists of three groups:

1. THE VIDEO ENTHUSIAST -For this individual, I write articles that teach some basics about the craft of cinematography, direction, editing, production management, etc. I also post articles pertaining to particular types of cameras and other equipment and offer tips and tricks as to how one can best utilize the tools at his or her disposal. Some of these articles can be more technical in nature.
2. THE VIDEO PROFESSIONAL - This individual earns a living through work in video production, perhaps as freelancer or business owner. For this demographic, I write articles that focus on the day-to-day aspects of being a professional. Subjects may include: how to improve your workflow, how to be more organized, how to prepare for a shoot, how to earn new business, how to market yourself, how to maintain healthy client relations, how to pitch to potential clients, etc.
3. THE CLIENT - The third audience group consists of people who work on the client side of the equation. Over the years I have worked with clients who have had very little experience working with a video production company. I have also worked with clients who are seasoned pros and know exactly what to expect on a video shoot. And I have worked with clients who fall in between both extremes. To this particular audience I write articles to help both the client and the production company maintain a healthy working relationship. I want to help the client understand what it’s like working with a video production company. I want to give them a few creative ideas that they might use as inspiration in their own marketing efforts. I want to help them know how to prepare for a video production, how they can get the most “bang” for their buck, and how the whole process can run smoothly and efficiently.

Sometimes, in the course of writing these articles for each of these groups, I might offer a few tips that are solely based on my experiences. I understand that each individual and each situation is different. So, my advice might not apply to everyone. But that’s okay. Hopefully you can mine some little nugget of information that is applicable to projects that you are working on, and help answer certain questions you may have. I also realize that everyone has their own style when working on a video project and their own unique approach to the process. And that’s okay too. The beauty of working in video is that is a very fluid and collaborative art form. So, when I speak to clients, or video professionals, or video hobbyists, I am not asking that you change your habits. I’m not asking that you adhere to a certain standard. The goal of any advice I may give is simply to help you (the hobbyist, professional, or client) avoid potential problems and create the best video possible. And isn’t that what we’re all striving for? I know that’s what I try to give to each of my clients.

I thought it was important to briefly outline the purpose of this blog, so that all of my readers can get a clearer picture of my motivations. Thanks so much for taking some time out of your day to read my blog and I hope the information contained within can help you improve your craft, your business, and your marketing efforts.

The above scene is from Jaws and it takes place right at the moment that Chief Brody gets his first look at the great white shark. It’s then that he realizes that he and his team underestimated just what they are up against. The same problem can occur in any video production. It’s easy to underestimate the scope of your project. What seemed like a simple, straightforward shoot and edit can quickly balloon into something entirely unexpected. The last thing that you, as a video producer, want to do is to go back to your client and say, “We’re going to need a bigger budget.” That’s not a fun conversation. Here’s what needs to happen to ensure that neither you nor your client underestimate the scope of the video project.

1. Everyone (both client and video producer) need to be upfront and honest at the beginning. You as a video producer should never over promise. Be clear on what your capabilities are. And you, the client, should never try to downplay what’s involved in producing the video. If you are working from a script and are not as prepared as you need to be, then you need to tell the video producer, “I’m going to need several takes to get this right.”
2. All decision-makers need to be involved from the very beginning. If the “higher-ups” wait to watch the video after everything has been shot, you may be forced to re-shoot portions of the video if they don’t like what they see. Re-shoots are costly. You as the client can avoid them by making sure that anyone who has to put his/her stamp of approval on the video is present for all important decisions.
3. When it comes to budgeting for post-production, the “less is more” mentality doesn’t work. More is more. In other words, you will always need more money for post-production than you think you do. Many clients (and video producers) underestimate just how much time will be spent editing the video. You may accurately gauge the hours you will spend assembling the edit, but you may neglect to consider time needed for encoding, making approval copies, delivering approval copies, approval meetings, phone calls with the client, making changes to the edit, re-working sections of the script, additional color correction, audio mixing, more encoding, more approval copies, etc. The list can go on and on, so you need to be prepared. Always budget more for post-production.

Video producers and clients need to work together so both parties clearly understand what’s involved in the production of any video. These tips are intended to help you avoid potentially awkward meetings wherein you have to ask for more money, because you simply underestimated what you were up against.