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Recording Quality Video: A short list of tips for impromptu

This is a list of tips gathered from emails written over the past couple of years to individuals who were gathering their own video footage. It started out with some ...

Production Ideas | Sean Lindsay | 25 May 2010

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Not what you do, but why you do it.

What makes a video inspiring? This may seem like a simple question, but when an employee or business owner is planning a video production, they are usually focused on the content....

Production Ideas | Sean Lindsay | 17 May 2010

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Let There Be Light

There is a term for a film made without light. It's called radio. That's how the old saying goes and it is no less relevant in the world of video. Without ...

Production Ideas | Sean Lindsay | 9 April 2009

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Practice Makes the Unnatural Natural

Bruce Lee once wrote "Practice until the unnatural becomes natural". There is wisdom in these words. Whether in life or martial arts, practice is essential to mastering whatever challenge you ...

Production Ideas | Andrew Bosch | 25 November 2008

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Corporate Actors Tip 2: Missed a Cue? Don't Let It Stop You!

Imagine this for a moment: you are midway through your video presentation and everything is going marvelously; all of a sudden, in a momentary lapse of concentration, when you were ...

Production Ideas | Andrew Bosch | 6 February 2008

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Corporate Actors Tip 1: Spiking the Camera

Many of the corporate video projects we produce involve individuals interviewing or addressing their colleagues. From boardroom presentations to panel discussions, it's important to be aware of a few points ...

Production Ideas | Andrew Bosch | 10 January 2008

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Happy Anniversary Falstaff Productions

Happy Anniversary Falstaff Productions! It is hard to believe that it was little more than a year ago that we decided to go our own way with Falstaff Productions and ...

Production Ideas | Sean Lindsay | 10 December 2007

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News and Production Ideas



Not what you do, but why you do it.
Written by Sean Lindsay   
Monday, 17 May 2010 22:07

What makes a video inspiring? This may seem like a simple question, but when an employee or business owner is planning a video production, they are usually focused on the content. They think, “how will I jam all of these important statistics and faces into my project?” They focus on explaining what their company does. The problem is that for everyone, except perhaps the most calculating investor, what your audience really cares about is how your business relates to them.

AudienceUnless your company is entirely unique and no other company is in the same industry, explaining what you do is a lot less important than explaining why you do it. If you have an audience for your video, they are giving you something incredibly valuable: their time. If you are an auto manufacturer and you spend their time telling them that you build cars and they come in different colours and you build hatchbacks and convertibles, you've only really communicated that, like all of your competitors, you make cars. If someone sees something they like in that video, sure, they may go out and purchase it. But, they may also see another video a little later and see something else and go and purchase that. If you haven't inspired your audience to make that leap to find out more about your company (whether it is your products, or your safety standards, or your record as an employer) your video has only used up your audience's patience and your budget.

Simon Sinek, in his talk How Great Leaders Inspire Action, draws a division between two parts of the brain, the neo-cortex that controls linguistic, rational, and critical thought, and the limbic brain that dictates trust, loyalty, behaviour, decision making and “has no capacity for language.” He says, “people can understand vast amounts of complicated information like features and benefits and facts and figures, it just doesn't drive behaviour." When we talk about why, “we're talking directly to the part of the brain that controls behaviour. And then we allow people to rationalise it with the tangible things we say and do. This is where gut decisions come from."

If you can make your audience just “feel” like your company is the right company to deal with, to instinctively believe that your message important to them before they start looking at the statistics and information, this is a huge accomplishment. They are motivated to see your company's priorities aligned with their own objectives. To do this, you need to successfully communicate a message to your audience's limbic-brain. You must communicate those things that drive the behaviour of your company.
Why do you do what you do?

It can be a challenge to answer this question, especially if all of the communications in your company are focused on what is happening. You need to discover the answer, because as Sinek says,

if you don't know why you do what you do, and people respond to why you do what you do, then how will you ever get people to vote for you or buy something from you or more importantly, be loyal, and want to be a part of what you do. The goal is not just to sell people who need what you have. The goal is to sell to people who believe what you believe. The goal is not just to hire people who need a job, it's to hire people who believe what you believe. If you hire people just because they can do a job, they'll work for your money. But if you hire people who believe what you believe they work for you with blood and sweat and tears.

In my experience, smaller organisations tend to have more successful videos, because they are more interested in exploring the question of why they do what they do. They don't necessarily come to a production with a predetermined message in mind. They put their own employees and clients in front of the camera and explore why those individuals work with their organisation. They have no concerns about injecting individual values and aspirations into their video. They are also highly motivated to distinguish themselves from their larger (and usually older) competitors. If a start up company competes for clients only based on what they do, why would anyone choose them over an established performer in that industry? Knowing the answer to why is what makes new companies competitive. Knowing the answer to why is what makes large companies dominate their market. Communicating why in your video makes it memorable and inspires your audience to incorporate your story into their own.

We will be following up this idea later with some ideas about how to find the "why" in your organisation. In the mean time, I'll read Simon Sinek's book Start With Why, and I invite you to watch his talk at TEDxPugetSound here:

 

If anyone has any ideas or comments on this post, I'm happy to hear from you: This e-mail address is being protected from spambots. You need JavaScript enabled to view it


 
Let There Be Light
Written by Sean Lindsay   
Thursday, 09 April 2009 00:00

There is a term for a film made without light. It's called radio.

That's how the old saying goes and it is no less relevant in the world of video. Without proper lighting, you you lose color saturation, add grain and noise to the picture, and miss out on an aesthetic associated with big budget film, television, and commercials.

You can add depth and style to your video with a few creative lighting choices. Depending on your budget, you can rent lights from a camera store, make a visit to the nearest hardware store, or just grab the reading lamps off a couple of nearby desks (ask first!).

Studio LightWe see light. When we look at a book, a person, a computer monitor, we only percieve it by the light it reflects or emits. The same is true for your camera, with one important difference: we can adapt and interpret what we see. A camera cannot. When creating a two-dimensional image on screen, we need to manufacture dimension and depth; those visual cues in the real world that are processed with the help of movement and binocular vision and experience are no longer reliable. But they are, fortunately, entirely under the control of the filmmaker.

So, we're back to step one. How does the director control those visual cues? There's framing, camera movement, focus, and light. We're going to focus on light.

For our purposes here, it will be best to talk about some of the things you want to look out for when setting up the lighting for your video production.

Light quality

Light quality boils down to hard and soft sources and everything in between. Halogen lamps, flashlights, and direct sunlight are examples of hard light. They come from a single point and cast hard shadows. Soft light is diffuse—the type of light you get from flourescent lights, soft white bulbs, and an overcast sky. Soft light is flattering, but boring. Hard light shows all of the features on a person's face (and these shadows become more pronounced as the angle of the light moves further from the camera). If you're working with non-actors in a scene where you are not going out of your way to establish emotion or time of day, soft light is the safe choice.

Angle of light

When you are setting up lights, it is always a good idea to put yourself in the position of the audience and ask, "where is that light coming from." If you are setting lights on the floor—maybe that is the only place you could find out of the shot—and they are casting heavy upward shadows on the wall, that's something that is going to get noticed. Again, this is less of a hazard with soft light sources. It is also important to note that the closer an object is to a light source, the softer its shadow. If you don't have access to film lighting equipment that provides you with many options for controlling how and where shadows fall, just place lights in positions where the shadows seem natural. It may help to know that having a light source in the shot itself is okay; you can have a lamp or a window in the scene as long as the light coming from that source doesn't overwhelm everything else (and if that is your intent, that's okay too).

Colour Temperature

Our eyes adjust to the colour of light sources so that they all eventually become white. Cameras don't. The most likely problem you will encounter is the mixing of sunlight and incandescent or halogen lighting. (A close second is the green tint that most commercial flourescent lights emit.) Sunlight is blue, the other light is orange. You can mix both sources in a shot, but it is good to be aware of what you are doing. Your camera will allow you to select a white balance—you decide what colour of light will appear white. The colour of the light from other sources is then determined by this setting. Once upon a time, we would cover every light source and window with a colour gel to get all of these sources to match. However, it is just as common now to leave the lights as they are or even correct them in the other direction to add more colour to the shot. If your subject is by a window, chances are good that one side of his or her head will be a little blue, and the other a little orange. If you're okay with that, and you think the audience will be as well, no problem.

As you experiment with lighting effects, remember the words of Spiderman artist Stan Lee: "Those aren't mistakes. That's style." Experiment as you shoot your video production and have fun.

 
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