The Flying Disk Demo DVD

The Flying Sports Disk Demo DVD - guerrilla marketing at its most creative moment.
Over the past two years I have been toying (sometimes literally) with the concept of using a flying sports disk (think Frisbee®) to deliver relative demo DVD content to youth sports and community events. Or at the beach, lake, playground, dog walking trails, bicycle paths and other venues open to the general public. The Flying Disk Demo DVD is it!

I have used prototypes of this product as a unique delivery system for getting my demo DVDs in the hands of people who are likely to want me as their independent professional video services provider. The product has passed the design stages and will soon be moving into production. It is patent pending, trademark applied and copyright 2007-2009 Earl Chessher, CorElAnn Video Productions.
The good news is, it works!

Recently, at a public park where a number of youth soccer, baseball and other sports event groups gather to practice, I have walked the field and tossed a few, handed out a few, and received inquiries and bookings for upcoming youth sports highlights, games and end of season banquet/awards programs.

At an area pre-season swim team competition I tossed out a few, handed off a few more, and have signed up another swim team as a result. The business will generate a season video yearbook and projection services, plus sales of 100 or more units of the final DVD video production.

I tossed around a few at a local dog beach, using a demo that focuses on pet video productions, pet video biographies and pet music montage video productions, and signed on a couple of projects for 2009. When I go out and toss more of these at the local dog beach I will get even more calls. Dogs especially love 'em, of course after their human companion removes the DVD to view.

The presentation is unique, affordable, generates surprise, a higher degree of perceived value, virtually instant business credibility, and calls and inquiries. I have not yet distributed six or so at any given opportunity or event without generating calls, web site visits, contacts and business.

As I said earlier the first batch of The Flying Disk Demo DVD delivery system is moving into the production stages with 1,000 units expected ready to ship within the next six weeks to 90 days. Advance orders will be accepted, but keep in mind that shipment could take up to 90 days until production moves into high gear.

The beauty of this system is you can produce whatever surface graphics you want for your demo DVDs. That is where the message goes. "Play Me!" works very well. The first run will be either bright yellow or bright red - one or the other, final decision has not been made. Other colors may eventually be available as well - white, black and green possibly.

Single orders, up to 99 units, are $10 each, plus shipping. Price breaks will be available for orders of 100 units or more, or perhaps free shipping. I am currently considering as much as a 25 percent price cut for orders over 100 units.

As with any flying sports disk on the market caution is urged in handling them to prevent possible damage or physical injury. Eyes, teeth, the throat and even limbs could sustain injury if any flying sports disk is tossed with force and directly at an unaware individual. Due to the nature of this device, and the possibility of mishandling in its delivery, Earl Chessher, CorElAnn Video Productions, its agents, representatives, owners and designers or manufacturers cannot be held liable for any injury, death, property damage or other litigation or claim resulting from its abuse or mishandling in delivery.

Purchase and use of The Flying Disk Demo DVD delivery system signifies your acceptance of the above liability limitations. No claims or guarantees regarding its use, business generation, profitability or safety are otherwise expressed or implied.

All I can say is The Flying Disk Demo DVD has worked for me, is safe when properly delivered using reasonable precautions, and will definitely attract attention. People receiving The Flying Disk Demo DVD will watch your attached demo. Calls will come if you have content that attracts them, and include a call to action.

E-mail me at earl@corelann.com if you have further questions.

Happy guerrilla marketing!

Sometimes You Just Want to Shoot Bands

Maybe that pun was intended because sometimes I have "just wanted to shoot bands" or some of their members, organizers, conceited lead singers or drummers, or even a few of their "followers" or roadies. Not really, but I wanted to give you who have not pursued this particular video production market possibility an inkling of some of the problems you might experience in the process. Consider it a sort of subtle hint.

Beyond that. And, beyond the starving artists participating and wanting something for nothing, or everything on the cheap, including your valuable professional services, there are a slew of wannabees, start-ups, semi-pro, valid, active, marketing savvy and talented, getting there, and almost there bands who will gladly pay for some dedicated and reasonably priced production work.

I have to warn you one more time this is a "you have to kiss a lot of frogs to find..." operation but, also repeating, the aggressively smart and talented bands/groups will value your dedication, commitment and determination. And, it doesn't hurt if you enjoy their music and/or the venues where they perform, as well as the places they practice. Road trips taken for some documentary work are usually a blast, and a heck of an experience if you have a lot of stamina, free time to do this, and the ability to stay up late at night and recover enough to get going the next day.

Keep in mind that many of the performers in these bands also are working stiffs, busing tables, taking orders, washing dishes, or cars, or whatever they can during the daytime to pay the bills and rent while they are working hard at night to make it - either practicing or performing for pennies at some local dive, joint, rave, private party or what have you.

They are NOT hard to find...
Attend any event anywhere you have access, and the desire, and you will find bands trying to break into the field and become "discovered". Introduce yourself. Have good looking business cards and maybe even some kind of representative sample footage on hand out DVDs that you can offer. Impress upon them from the get go that you are a professional and are interested in producing video for them, from documentary to performance to whatever. The more enterprising of these folks already have poor, to good, to great, CDs, t-shirts and other front table paraphernalia they offer for sale during their gigs. If they do not have one, they're going to be interested in what you can offer in providing them a DVD they can also sell, market and distribute.

I work only with bands...
...who produce their own written, composed, performed music - not groups who rehash some other artist's copyrighted work. I get them to sign releases so stating, also allowing me to produce these videos (not as a work for hire) and retaining the rights to use footage for further promotion and business marketing.

If these guys have an agent (I often and usually have a very different, less kind name for most of them) you'll have to work through him or her, and it will often muddy the water a bit, or restrict you to the point that trying to produce video for some groups will be impossible. Make your choices, but don't go for stuff that is going to make you work any harder or smarter than you'll already have to with bands.

I have three approaches to...
...band performance production. The vast majority of the groups with whom I work want me to produce, lip synced or live, performances. Some of these want me to shoot live at a performance, live during a controlled practice, or live and performing in a controlled environment specifically for the purpose of producing a quality DVD for marketing and sales - or lip synced to a quality-produced CD.

Others, especially those who make a lot of road trips, hitting venues all over the place, will get off on the idea of having a documentary that includes comments, day-in-the life episodes, snippets of live performances here or there, and maybe one or two complete songs they have performed as a bonus for those purchasing the documentary DVDs.

Finally, there are groups who have hired me to produce something they can share on local cable public access channels. These do not always conspire to generate perfectly wonderful productions - I have had to videotape in back yards, garages and roof tops - ambient sound (think planes, helicopters, trains, automobiles and emergency vehicles) be damned. No, I mean NO, audio control whatsoever. Hey, it's their time, money and gig, and I often will not want to share company credit on the end products.

A LOT of groups will want you to do literally, or figuratively, something professional for nothing, making all kinds of kisses in the wind, and promises they'll never be able to keep - even if they originally were well intended, and wanted to. Even a modicum of success will often render you a figment of their imagination or a Alzheimer's like loss of memory. They move on, you gave and remain - no fame. Turn anyone down who does not want to pay for your services unless you love them, need them, want them and enjoy hanging with them, or are an independently wealthy roadie willing to sacrifice yourself on the altar of the band.

What's a fair price?
Pretty much, depending on your desires, needs and abilities, anything you are willing to do it for. Be realistic in your assessment of time, materials and quality, and the value, then make your decision on more than an educated guess, or emotionally influenced basis.

EARLY ON I charged EVERY band that has brought me in for this an up front flat fee, regardless of the amount of effort, equipment, interested assistants or whatever, I have brought into the equation. I shot them for up to two hours, provided them with a RAW DVD and they made the picks, then put it together for them for $400. They, in turn, agreed not to copy, sell or package this DVD through ANYONE but me, and in turn I made them short runs to put on the table during gigs, along with their t-shirts and other stuff - 30 @ $8, 50 @ $7, 100 or more @ $6. I did not make much on the DVDs (I ONLY use standard-size blanks, not the odd-shaped or mini-disks), but the formula worked for me, generally speaking. That was then, this is now, world economics be damned.

MORE hours equaled MORE money charged.

NOW I have a basic price where I'll cover up to two hours of a performance (the group handles all access and clearance for me with the venue or other involved parties); up to two hours at a controlled practice session; two hours at a closed production session for $1,000. This includes one DVD, and they have signed releases, clearances and guarantees that I am the sole provider for duplication services or copies.

An outright work for hire with the group avoids the above, allowing them to reproduce, duplicate and sell the product anyway they want without having to deal with me. This costs them $3,000.

Yes, most of these groups and individual members are poor and starving, emaciated even, but if they really, really want professional services and quality productions, they'll find a way to pay for these very reasonable fees.

I have other approaches, and will often work with a strongly motivated and talented group, developing something both of us can live with, but the above is my first and often only approach to most.

I have to say I have not yet entered into a basic two-hour production arrangement where two hours covered it. I nearly always will go over due to a host of reasons wild and wacky, to sane and real - often blown circuits, speakers, busted strings, bad takes, etc.

How I do it...
You have read before that I will not use house sound, group mixer or any other available board unless it is someone I have specifically hired and worked with to handle my audio. I do this, but it will cost the client much, much more.

I have a gaggle of Zoom H2 recorders and place them where I need them for live audio acquisition, and use the on camera mics as well, mixing as needed, especially for live event/performance coverage.

I will shoot multiple takes during controlled performances and lip sync gigs until I am satisfied that I've obtained the angles and cuts I want, and sometimes have returned for pick up shots if the situation can be recreated, or the same venue is involved. Rarely though.

Lip sync to quality CD recording is relatively easy if you don't acquire a heavy amount of ECU's (extreme close ups) on the lips, or even close ups (CU's) for that matter. There's usually, and often, a lot of alternative shots that do better than planting your camera's lens on Mick Jagger's lips, even if he and all the women think it's the sexy thing to do. Not.

There is no way to cover all the elements that will crop up, things that will come up behind you and kick you in the asperations, but this article should give you a general idea of what is possible and potential in working with independent musicians and bands.

Remember, if you market, you will make it. © 1990-2009 Earl Chessher

Make Money in Special Interest Video

You can do something you really enjoy doing in video and make money at it. I am talking about producing Special Interest Video. Creating and marketing SIV’s isn’t likely to make you rich, or pay off the mortgage...
...but it could.

There’s a host of genre’s in SIV. First, let’s define Special Interest Video even though most of you know, or think you know, a lot of you, myself included, totally overlook some SIV material that fits.

Special interest could also fit in the “limited” interest category. They are essentially the same: special interest videos are "limited" in the range of potential market share they can capture because not everyone will be “interested” in them; “limited” interest video is, well, limited in its range of appeal or market potential.

Either way you are creating a product that is limited to a set group of individuals who might be interested in purchasing a copy, or producing and marketing a SIV of their own. The approach opens up two markets specifically - what you might produce, and what you could produce for others. Both also work on the “work once, sell many” principle I like to operate by.

While SIV only appeal to a small part of any given market or demographic, the spread can be huge. While your market reach might be only a few hundred, today’s population and diversity of interests actually puts most “limited interest” production potential in the thousands of sales. It depends a lot on how and where you market, identifying and reaching the groups where a higher concentration of interest in your subjects exists.

Let’s take a quick look at numbers.
You love producing sunsets, live in an area where you can accumulate hundreds of dramatic sunsets over a season, put them to music (there’s a broad range of perfectly acceptable copyright-free resources, and even a host of software productions available to enable you to generate your own, as well as a host of musicians who also make video - you do not HAVE to violate copyright music laws to create these.), give your productions a title, design some nice graphics, package and offer them for sale.

This is nothing new, Reader’s Digest has produced mood, nature and other “inspirational” footage/music videos for years. Still do, so far as I know - I have a few older productions in my personal library. So does my Dad, friends, and I rarely go to any client’s home without seeing some of these in their own collections. People do buy them, folks.

Keep in mind that this is something you do because you enjoy collecting sunsets for yourself. You may, or not, be a full time professional video services provider, but you still go out and commune with nature in some way from time-to-time, collecting on video anything from flowers to animals, desert plants to nocturnal creatures, piers to plantation homes, storms to cumulus cloud patterns. Take this a step further, editing and packaging, then marketing, and you can pick up some coin for your efforts.

It starts as a labor of love, but easily becomes a SIV production. You have done the work without thought to profits, but hey, sell a couple hundred or so at $9.99 or so and you have picked up some money for your labors. The subject, and your treatment of its production hit the consumer pulse and you could literally sell thousands.

Sure, there’s a lot of competition in this arena, but you can develop your own market, and followers - consumers who after discovering your productions come back for more again, and again, and again.

But that isn’t all!
Wait, there’s more! Hundreds of hobby enthusiasts all over the world are either skilled at doing something uniquely creative, or buying SIV productions that they hope will help them pursue their particular interests, learn how to collect this, build that, or find whatever.

People collect things, enjoy history, like trains, planes or automobiles, but they also like knowing how to put together special projects, even their own SIV productions. Those who are knowledgeable about their chosen interests, able to articulate in a reasonable manner, understand the ins, outs and tricks of their creative skills need only be encouraged to enter into a mutually beneficial SIV production - one that each of you, the video producer and the talent, can put together using your particular knowledge, produce, package and market, and bring in a few dollars worth of orders from time-to-time.

SIV productions can be...
...generally appealing, wildly hot, or very specific. The marketing can be the same, from casually mentioning their availability on your general or dedicated web site, to e-mail blasts, viral marketing techniques, to full-blown advertising and direct mail campaigns.

The interesting thing about such productions is that once a few people hear about them, purchase them, express an interest in them, and tell others in their circles of influence, more people come, browse your selections, make purchases and periodically visit again, and again. You productions, or any one of them, could get hot, or not, but all you have invested in them is a little bit of effort - something you were going to do, more or less, anyway, but just carried it a step further to offer your SIV to the rest of the world.

There is a huge potential for production of how to videos, mood videos, videos that promote self-published books, entertainment, hobbies, information and awareness - the list is infinite. If you have a product and market, you will make it.

A Wedding Video Production Primer

Information abounds on a myriad of ways to approach wedding video production. Forum advice ranges from the simple, basic one-camera, or two-camera one operator single-person business, to two or more cameras and operators, to full production crews with multiple cameras, operators, audio technicians and helpers.

There are plenty of resources and opinions also, that offer advice on the camera model, style, format, lens, standard or high definition...
...everything from lights, mics and audio levels, to tripods, tape and batteries. Marketing, production, editing and delivery notions are all over the board, all of them appropriate, none of them the end-all answer.

This bounty of information is all well and good, and will either help you make GREAT decisions regarding the above, or muddle your mind so much you want to throw your hands up in frustration and go back to your day job.

Keeping in mind that there are a hundred ways to make a good, no GREAT decision, the following is what I recently shared with an individual who asked:
“I'd like to know how to set up for a wedding shoot. Single camera? Multiple? Where do I set up for either? What about lighting? Angles? Sound? Where, and whom, to mic. What about shooting an indoor, night ceremony?

“What about pricing? Obviously prices can range from nothing to whatever. If a bride plans a wedding for 150 guests, and you charge them $1,500, what would that include?”

For someone who might not be familiar with weddings, or wedding video production and editing, this information could be helpful. It is not by any means all inclusive, nor the definitive article, but should generally set the uninformed and/or inexperienced on the right path.

A Wedding Video Production Primer
You can certainly go wedding (and event) video production using one camera, but it can be a bit more of a challenge to do so. The use of a second camera, or more, and additional operator(s) offers many options for more angles or points of view (POV).

Many of us in the field prefer to shoot with two cameras, using the second unit as a CYA unit as well. Personally, I prefer two cameras AND two operators. One operator predominately uses a sturdy tripod and works from the back, to the side of the main aisle, or in the balcony, even a side balcony if one exists.

It is possible to set this camera, frame it, and lock it down (where the term “Lock Down Larry” comes in), while the camera/operator does her/his thing, run and gun, off shoulder and/or using a monopod or other stabilizer or brace system. I prefer not. And especially suggest not going this route until you have a few weddings under your belt.

I rove with the second camera, or run-and-gun, using a unique and sturdy monopod system. I also usually monitor wireless audio coming into my unit. Sometimes not. I am nearly always somewhere up front, to the groom's side, to capture tight, get intimate shots of the bride during the vows and whathaveyou.

I often utilize a third camera for another unique perspective (I presently work in standard definition using two Canon XL1 and one Canon GL2 cameras). I sometimes place it against one of the front row pews on the floor set wide to get a unique angle on the processional including the bride’s entry. I have used it on a stand for a unique overhead shot, and even set it in the back area at an angle to the official, bride and groom to pick up a wide shot. I have used it for an exclusive close-up shot (CU) of the mothers lighting candles at the unity table, and the bride and groom lighting the unity candle.

NOTE: A matching set of cameras makes it a bit easier to get some degree of color balance. But even with matching camera models or brands that is not always the case. You will often have to manually white balance each unit, or even do some additional color correction in post. It is amazing how similar the image looks when screening from one camera. But when switching back and forth between cameras and shots, even a minor shift in color or brightness and lighting, becomes very evident.

LIGHTING
We use natural available light in 99 percent of the venues we have worked, or even candlelight. I will normally use on-camera lighting 10-watt to 50-watt during under-lighted receptions.

In only one church in my career have I deemed it absolutely necessary to use auxiliary lighting for the ceremony. That church is almost totally dark, the only daytime light entering (barely) from one stained-glass window to the front of the church and high, nearly to the ceiling.

Even with 1,800 watts of lighting from stand units in the balcony the ability of the cameras we use was sorely tested. This venue is an old mission and pretty much everything at the altar is covered with gold, highly reflective, but not very illuminating. Those instances are pretty rare actually, and even candlelight can give a nice, warm hue to the ceremony if you manually white balance according to the light the candles throw off.

I have also used 10-watt auxiliary lights strategically placed to throw some illumination onto the vows area, suspended in the gazebo or arch, or where ever available. If it is going to interfere in any way with the visuals I will avoid doing so, same with mics or auxiliary audio recording units.

There will be some lights, or candles for evening services, and that should be sufficient for most of today's venues, and many of the current available standard definition cameras. Figure out the ways you can adjust your cameras to compensate for more, or less, illumination and various light temperatures and sources, then be ready to adjust on the fly when you need to.

I use NRG varilights that I can dial down as needed without making a LOT of difference in color temperature. I use 50-watt lamps with screens over the fronts to keep from blasting guests with blinding white light. Even so, there will be some reaction, but I've not run into any of our clients who have complained excessively about the "bothersome" lights.

Some video producers shy away from using lights at all, but my personal opinion is that “video IS light, light IS video.” I personally do not like the coloration or the darkness of shooting natural when the DJ invariably shuts down the lighting to show off the color bar, strobes or whatever other light show is brought in.

AUDIO, MIC PLACEMENT
Mic the groom, wireless or hardwired, and the bride whenever possible. One or the other is going to whisper if you don't and you will NEVER know which one forgets to project. I use a wireless system, with white cable and head for the bride (I have even temporarily coated a black mic system with liquid paper - sure, it rubs off some during the event, but mostly stays white, and rubbing it off is easy when I am ready to clean it up and use it black again in another situation).

I shoot live audio to all cameras as well, except for the one receiving whatever wireless source I utilize. I have four Zoom H2 digital recorders which I place at the podium, on mic stands or where ever they are needed to pick up soloists, readers, roving ministers, dual speaker podiums, and sometimes even directed toward the "sweet spot" if any of the house sound system. Due to many bad luck experiences resulting in damage to my cameras or mic circuitry, I will never again trust anything from house sound or auxiliary boards. EVER!

I use lots of 2- to 3-hour bricks, having gotten away from battery belts (too heavy after awhile) even though most belts actually last pretty much for the six or more hours, give or take, of most wedding events - ceremony and reception.

RECEPTION COVERAGE
We rarely stay for the "party" dancing, shooting the main dances, and two or maybe three of the first party dances, then we get the heck out of dodge, unless there’s late traditional events that have been arranged for coverage.

Most receptions feature the intro, then toasts, sometimes first dance and subsequent father/daughter, mother/son and bridal party dances happen immediately after the introductions. Or the first dance will fall between introduction and toasts. Always check with the attending activities coordinator or DJ or band emcee, for the general plan.

Cake cutting, bouquet and garter will often occur after dinner and prior to the party dancing. If not, you're going to be stuck for a long night. Try to find out as much about the event plans as you can from the bride, her mother and the coordinator or activities person. Believe me, you will be glad you have some kind of handle on it, even if it all changes somewhat.

WHAT WEDDING CLIENTS WANT?
The market seems to want a "meat and potatoes" production with good-to-great audio video quality. And a minimum of special effects or creative elements, for a production of anywhere from 40-minutes to one and one-half hours in length. Actually, less is more, if you do a GREAT job of shooting, getting good color, quality audio visuals, and editing it all together. Botches in angle, focus, sound, etc. can create some serious editing/production headaches, but usually, if you work with two cameras there’s not much you cannot overcome in post.

PRICING YOUR WORK
With that in mind, event (wedding) coverage that provides basically a documentary/journalistic style approach, (getting what happens the way it happens without creative enhancement - maybe SOME slow motion, or a fancy cuts-to-the-beat dance sequence) should be valued at $1,200 to $2,000, depending on your experience, abilities, equipment used and assistance needed.

My package starts at $1,500 for basic, and goes up to $5K. We also offer a $1k service that is primarily a highlights production with live audio for the vows and rings, everything else edited montage style and featuring the high points of the event. Plus they get totally RAW DVDs of the footage shot - no kisses, no promises. Opinions and theories on provision of RAW footage vary widely, some professing professional outrage at even considering the concept. Whatever.

Many in this profession keep their prices and overhead low, offering a single-camera, single operator service, and they are quite successful at it. Their editing time is shorter, and I have seen production by them that stands up to any quality standard.

These people are often highly skilled shooters and editors, making as much, sometimes more, often less per package than my two-and-two prices. I do not begrudge them that.

INFORMATION RESOURCES
The following forum groups are excellent resources for people considering a move into wedding and event video production, either as a part-time income-booster, hobby or full-time professional business: Videomaker, Wedding Video Professionals, WEVA, DV Professionals and Video University. There are more, but these would be a good start.

How I Produce Funeral Videos

A follower wants specifics about producing funeral videos: after reading my blog article, "Videotaping Funerals" Oct. 6, 2008. This will be an exceptionally long post (yes, even longer than usual) but readers will find it to be fairly definitive in content.

"I've noticed at least one of the larger, local funeral homes providing the montage service - at least it was mentioned in one of their tv adverts - and can understand this service, what is new to me is videotaping the funeral/memorial service itself.

Do people actually request coverage of this event? It seems strange on one hand, but can understand it on the other. What are the primary objectives for camera coverage? Do you try to do this with one or two cameras? Maybe you could go further into detail about the coverage...I'm a little interested." — Hogwild

* "What is new to me is videotaping the funeral/memorial itself. YES, this is a seriously under served segment of our industry.

* "Do people actually request coverage..." - YES, now that the word is out regarding my services, I am getting numerous calls, inquiries, referrals and new business weekly.

* "What are the primary objectives for camera coverage?"
— Remembrance, honor, dedication, celebration, preservation

* "Do you try to do this with one or two cameras?" Often one, usually two.

* "Maybe you could go further into detail about the coverage." Glad you asked:

How I Produce Funeral Videos
is a LOT like how most of us produce wedding videos (upcoming blog article featuring a "Wedding Video Production Primer" - VERY SOON!) in that like weddings, funerals are pretty much all the same, but different. The essentials are standard, the particulars and specifics will vary.

A Traditional Funeral
goes like this: Guests arrive and are seated about 30 minutes prior to service starting time (generally speaking - varies somewhat), family is either brought forward and seated, or was seated prior to guests entry. There is usually "entry" music, either live or CD, iPod, etc. a half-hour before service is to begin.

The venue's "family assistant" will usually announce the official service beginning and admonish guests to put cell phones/pagers on silent, or turn them off, introduce the official or opening speaker.

The official(s) open with prayer or meditation. Usually, one of three things happens next:

1. The official will read the obituary/eulogy
2. A family member or friend will read the obituary/eulogy
3. A song will be performed - live vocalist/soloists, organ, harp, guitarist, or pianist, or recorded CD/iPod/audio cassette

This is followed by eulogies (if obituary biography opened) from official, or a combination of family members, friends or professional/organization associates.

Either another song will follow, or people from the attending guests will be invited to share a brief (sometimes not so brief) memory. This can be problematic when videotaping if those speaking do not use the microphone at the podium, or up front.

The official will usually follow with a special message, or most often a real sermon - often about 15-20 minutes, but there are instances where they have gone an hour or more, include scripture readings, mass, liturgies, communion, and even an altar call to seek salvation. Be ready, prepared and find out as much as possible regarding this segment beforehand.

A closing song usually follows, with benediction and often one of three things:

1. Guests stand while casket is escorted out, usually by the pall bearers, followed by the family, then exit as everyone proceeds to a grave side service, dove release or outside military honors, or even a combination of all these.
2. Family stands to the front, near casket, while guests are requested to file past in a greetings line. This will either be followed by the casket, pall bearers and procession to grave side, or not. Or there could be no grave side service (having been held earlier and privately) and everyone attends a reception either on site, at a restaurant, or family residence.
3. There is no casket, and the "cremains" in an urn are escorted out, for a committal service, or other. The greeting line will be held, and/or people will mill around outside the facility, talking, meeting, greeting, sharing, comforting, etc.

There are many, MANY exceptions, and I will try to cover some of them along the way as I point out my approach to...

Videotaping & Producing a Funeral
I will now tell what I do, arrival/setup to breakdown/departure, for the average funeral production. I will follow with some exceptions that might occur, and what happens when a client books my most extended hours package.

ARRIVAL & SETUP
I generally ALWAYS arrive at least 30-minutes, and often one-hour prior to service time. This depends on my familiarity with the venue, and whatever indication I have received from the booking family counselor of anticipated attendance. The MORE people they expect, the earlier I will time my arrival - if for no other reason that getting a better access parking space. You will be glad you did for all the obvious reasons.

NOTE: I always try to park headed out, or in line with the anticipated procession vehicles when I know I will be following by auto to the grave side/burial service on second location packages.

I use two cameras, and often two operators - main camera on a tripod, centered on the podium, framed based on "rule of thirds" (imagine a tic-tac-toe grid in your viewfinder or screen and frame subject's eyes on one of the cross-hatch junctions). Give a bit of head room (some air between top of frame and subject's head); and lead room (more space in direction subject is facing/speaking, less behind).

I try to be somewhere toward the front and to a slight angle from where the speaker(s) are. I prefer slightly off-center, and not directly in front of the podium even if that were possible - it usually is not because your rear would be in the faces of the family. Not good.

So, closer and to the side in smaller, more intimate venues; just behind the family section, and to the side closest to the podium in larger venues; and where ever they will allow me in churches - balcony, designated video platform, back of church, etc. This camera records ambient sound for enhancement or backup.

Second camera is off-shoulder or on my favorite monopod. This camera rarely, if ever, runs continuously. Instead it is used for pickup shots, and run-and-gun moments to catch procession/recession, after-service milling around, or various other scheduled events. The main camera person is breaking down equipment, stashing tripod and converting to mono, or prepared to go with shoulder shots, or stashing everything in the vehicle in preparation for following procession to the grave side, reception location, etc. Second camera, when running, also picks up ambient/natural or amplified audio from house system.

During the service I am also up front and to the side, enabling me to get head shots of family, guests, reaction shots, etc. during prayers, eulogies; as well as the vocalist/accompanist or other performers. My primary function, however, is to get a save shot if the ceremony goes beyond 55 minutes on the main camera and the operator needs to change tape.

NOTE: This is also VERY "doable" for a single operator. After the Lock Down Larry is set up on the tripod, I am free to get the cutaways, CYA shots, B-roll shots, etc. And, I am also able to keep the second camera steady (my monopod has a reliable foot-stand section) and rolling while changing tapes if needed in the main camera.

AUDIO...
is not critical from the cameras, but I like having the live audio from on-camera microphones to enhance my main audio source - that amazing Zoom H2 portable digital recorder I have placed at the podium. A 2-gig card is usually enough, but I recently found a sweet deal on 4-giggers so I can put in fresh AA batteries, set it up when I arrive, test audio levels and get decent recording of the 30-minutes of entry music, start recording and leave it running until I break down and retrieve the unit.

I like that I can break out segments of the recorded H2 file(s), and then go to the unit's "normalize" function to bring everything up to zero. I have a tendency to set a bit lower to avoid potential over-modulation, so quiet or soft moments, or harp, guitar, piano, singers who cannot project and do not use the mic system, etc. can be brought up to decent levels. What I do with MY files is drag-and-drop into my Mac using my card reader and burn them onto a CD via Roxio Toast. I have NO trouble syncing up with speakers or musicians, and get good quality recording on my aiff files. Nice.

I have extra units if I discover that I need to place more of them in more locations - near the second podium, near the performers, etc.

NOTE:
I always, ALWAYS inform the venue, the family counselors, the family assistants, the officials and, when possible, family members that I have been paid to provide quality video and audio, and the ONLY way to get quality audio is if ANYONE who speaks comes to the podium to do so. Rarely, ever do I have to contend with people speaking from the seats.

Also, if they want to pay for it, I do offer/provide a wireless hand-held microphone that can be passed around. It can be fed into the house sound for audience clarity, but unless that is requested I inform them that the hand held mic's primary purpose is to direct-feed the signal into another of my H2 recorders, not for audience. Whatever.

After Setting Up
The main camera's sole responsibility is to maintain a sharp-focused, well-framed, steady shot of the speakers, moving only when necessary to take in a speaker from another position, or taller/shorter, or a performer off to the side. Otherwise, no zooms, no adjustments, no re-framing, no focus bips.

Prior to the ceremony the main camera shooter will often pick up some candle, cross, crucifix, flower or angle shots of the casket or urn, flag on stand, tilt-ups or zoom-ins of tall, round or large stained-glass windows, fancy lights, etc.

And, of course, to affirm that camera two is rolling (if two-operators) before changing tape. We do not communicate other than looking and paying attention at the critical times - slight nods indicating "rolling" "changed-and-rolling again" etc.

The secondary camera responsibility is
1. Exterior shots of venue
2. ECU's & CU's (extreme close ups and close ups) at foyer or entrance where there are usually photos and/or photo-montage boards, memorabilia, programs, boutonnieres for the pall bearers, special mementos, etc. These items, along with the guest book and a few people signing, all contribute to a special opening montage with which I begin virtually ALL funeral productions, or may also be used during songs, etc, especially when it is music only and nothing to show during the service.

I also nearly ALWAYS get several casket shots, and especially a centered shot of the casket or urn, surrounded by the flowers, sprays, large framed photo, etc. YES, most family clients WANT some casket shots (Remember to use "casket" not coffin. EVER!). These can be tastefully acquired without making it look as if you are morbidly curious or wanting to climb inside. A bit of gallows humor there.

And, I also get close-up shots, tilts, trucks, pans, dolly shots, Dutch angles, etc. of many of the floral displays up front, and around the casket, urn or large-framed photo. These too are used for the montage, opening/closing titles, or to break the monotony of long-winded speakers and songs with no live performers.

3. During the ceremony the second camera will get head shots of guests and family members, a few poignant shots of emotions are OK, but I do not "dwell" on extended emotional outbreaks for too long. That is not appropriate IMHO. These are inserted as needed to provide production value and breaks from long-winded speakers. Hint. Hint. Well-worth the effort to generate renewable business, references, etc.

NOTE: Our resources KNOW the quality of our productions and are happy to sell our services along with their packages, or refer us to others. They KNOW our productions are not plain video anybody with a camera could capture, more or less. They KNOW that we provide a beginning, middle and end, and often create special elements the average Uncle Charlie or family friend does not or cannot.

At the conclusion
of the ceremony, following the casket/family recession, greetings line, move to the reception area/location, military honors events (gun salute, flag folding, taps and presentation of flag to designated recipient); sometimes a horse-drawn carriage through the cemetery park, on-the-shoulders pall bearer procession, Scottish bagpipe, New Orleans-style jazz band, veterans, Harley or antique auto club procession, or the auto procession to another location, and subsequent if any, and usually much shorter grave side or committal service, the two cameras trade off, depending on who's on first.

Many other things can happen such as:
* Mariachi bands, live dance performances, candlelight ceremonies, themed celebrations and more are entirely possible.

Funerals are not so much the dark, sack-cloth-and-ashes, hair-pulling, clothes-renting, wailing, morbid, icky or gross events the uninitiated or inexperienced imagine, or have been told.
* Many Indian, or Eastern group funerals feature processions to the crematorium where the family wants, and is paying for, documentation that all honors have been bestowed, final rites given and the body cremated. They especially want to get video of the family member or official designated to "push" the button that starts the fire.
* Many ethnic groups will have, en lieu of, or in addition to Christian/Catholic/Americanized services, special rites/rituals - Sanskrit, etc. - as well as second, even third language segments.
* There have been choral presentations, choral accompaniment to the liturgies or Gospels, ethnic singing groups, usually from German, Polish or Russian immigrant families.
* I have experienced rock bands, heavy metal music, and even members from the gay/lesbian community singing "...it's raining men!" or some other appropriate anthem.
* There have been fly-overs, fly-by and Scottish bagpipe brigades, Harley Veteran groups with multiple flags and blue jean jacket "colors" - especially from the Vietnam era.
* Dove releases, toasts of champagne, wine and tequila shots with the entire congregation asked to participate (apple cider for those avoiding alcohol), picnics on the grounds, potlucks on mile-long tables, and video montage projections ranging from a few minutes to a half-hour in length.
* Filipino groups tend to take a lot of time posing at the casket for family photos. Indonesians also, while Spanish groups tend to be very demonstrative, spending a lot of time at the casket, sharing emotions and spiritual moments with the deceased.

MOST Funerals tend to be
fairly reserved, routine and traditional, however, but do not be surprised or shocked at the possible variations. Some families/guests will be rather quiet while others will be extremely demonstrative. There are often jokes, laughter and tears of joy as well.

I thought this long article would be fully definitive, but it is not. I am concerned about writing much more, making it too long for even the most curious to read and absorb. There is much more to share, many elements I have not yet shared, that often come up.

What I have described sounds like a LOT of work, but yet it isn't really. Services rarely take up more than a couple of hours total. Some will last longer due to visitation, Rosary, grave side services a longer distance away than normal - often only a few miles, but sometimes 40 miles or more, receptions and other special programmed events. The editing, however, is easy and quick if you get the shots and audio right. Most every funeral produced requires much less work, editing and effort, paying much more per hour than a wedding.

My upcoming book with its accompanying support materials will contain all this and much, much more, plus samples, forms, demo clips and videos. It will contain expanded versions of many of the articles here, as well as updated information. I expect, pound-for-pound, word-for-word, and resource materials galore, "Diversify: How to Market and Make Money Producing Event Video" will prove a huge value at a reasonable price for all skill and experience levels of people in the Independent Professional Video Services Provider community wanting/willing to think "outside the wedding".

Study Your Resources, the Competition

Unless you totally love doing it, no matter the cost, wedding event video production is only the smallest tip of the iceberg, income-wise. In fact, for the vast majority of independent professional video services providers wedding event video production is the most number of hours you can work for the least amount of dollars per hour in return you can do!

Yet the vast majority of independents do focus almost entirely on wedding event video production, treating most anything else they might provide as an afterthought or step-child. Web page designs focus almost exclusively on wedding video production, and rightly so if your only interest is in this area of business, and you are satisfied with the return you get.

Not that many independent wedding video producers take the amount of time and effort they should to check out the competition, instead depending on what they think they know and cautiously guarding their "secrets" instead of trying to learn what others are doing that might, or not, help them grow their own. And even fewer make an effort to see what other services are offered, how they are marketed, their focus, what sets them apart from the other "full service" independents. EVEN FEWER set aside a serious amount of time to research programs, software, hardware or web services that could set them apart, or above, the competition.

Current economics make this a good time to do some research. Research to discover new products or services you can use to keep the money coming in. Research to discover how others are setting themselves apart from you. Research to discover if it is price, product or SERVICE that is making the difference for others in the independent video production business community.

Marketing Guru Steve "Doc" Yankee admonishes his followers to market, market often, and market regardless, noting that it isn't something you do when the cash flow spigot stops flowing. It is something you do EVERY DAY, to keep your business, services, prices and product in the public eye.

My marketing mantra has for a long time been: "If you market, you will make it!" © 2009 Earl Chessher. I always admonish my readers that great ideas won't work unless you do, knowing that "work" is the key word, and that it seems to run against human nature to do too much of that - even if YOU KNOW the idea will work, bringing in a boatload of bucks.

I once quoted a business friend, in an earlier blog, who asked me to help him develop a good business approach to expanding his pest control service. We worked something out. He got all hot and excited about it, his face lit up like a thousand-watt bulb, but then I didn't hear from him. Weeks went by and life got in the way, but one day I cornered him about our fantastic market-expanding concept for growing his independent commercial pest control business using video.

"It is a GREAT idea Earl," he said. "I KNOW this is what I need to do to really build my client base and grow the business." He paused before the moment of truth: "But it's going to work too well, and that means I AM going to have to work harder!" He wasn't willing to work THAT HARD for the success and business he knew this marketing approach would generate.

Just doing less than one hour's worth of research I found a number of interesting web sites to visit. Sites offering new services, new products, new marketing concepts, and sites offering GREAT self-promotion for the usual (weddings) as well as a bounty of other concepts that could benefit the independent video production company.

And, of course, there's the value of networking with other independent video producers around the globe. Fellow video business enthusiast Robert Wagner, active on the Videomaker forum, just recently shared with me an idea he is putting into action RIGHT NOW! Wagner has a good-sized trailer that has been "just sitting there" taking up space. He is refurbishing it, installing connections and implementing green screen capabilities. Robert is going to tow his trailer to flea markets, huge commercial open market sites and other locations, and set up an "on site" video production "booth" for the thousands of potential fair/flea market visitors/customers that attend. New idea? No, but Wagner has the incentive and willingness to work to put together his NEW approach to an old marketing idea and make some money doing it, using things that are available to him at a minimum cost. Sweat equity.

Here are some of those places you might want to check out. Study them. See what they offer. Study how they present themselves and how they market. Take a look at Eye15Productions, Animoto, Photo to Movie, Castleland Productions, Go 2 Productions, MTPRO.TV, Last Cut, Royce Multimedia, Reach Local, Event Video Production, Video Builder, U on DVD. If that doesn't give your marketing senses a jolt, check out Veeple and sign up for a "clickable video web service" - free trial through March, 2009; Reel Moments has a solid focus on SDE (same day edit) services that they also offer a "how to" product that will make a believer out of you.

Check out Independent Media, and McNally's Plug and Play, where you can obtain a CD/DVD plus/dash duplicator that offers short run copy protection for your productions with NO licensing fees per disc. If these aren't enough, Google your own and take a close look at what and who is out there doing business, making money - WORKING while you wonder how come you are not.

What do these sites offer? What are they marketing? How? What sets them apart from you, from the rest of the market? Exclusive? Software, hardware, web product? A unique style/approach? Their years of experience? Price? Equipment used? Production Quality, branding, web site quality? What "look" do they incorporate? How are they different, or the same? What is their focus and how do they make it work for them?

Find the answers by researching and studying the resources, the competition, and decide where YOU can set yourself apart. Make your move to the top. Write the GREAT ideas that will start pouring out of your brain down so you do not forget them. Put the GREAT ideas to work so YOU will have to! Make money!

Reader Asks: SD or HD?

This is a HOT topic for a lot of people in, or entering, the video business. I shared my understanding, experience and opinions based on that criteria in responding to this reader's questions. Your mileage, and opinions, may vary. There are a thousand ways of looking at it, and even more ways to make money - either way, standard definition, or high definition video production. Portions of the reader's letter follows:

Hi Earl,

You obviously really know your stuff. And you seem to enjoy helping people, so I was hoping I could possibly come to you for a bit of advice.

First of all, I'm not a complete novice. I worked in news, from working in the studio as production, into print reporting, then back into news as a photographer. All that took about six years. When I moved to NYC I found myself an office job and have slowly been going insane.

I want to make the dive into freelance production: Weddings, birthdays, corporate stuff, depositions, whatever, anything to get out of the office! I really enjoyed your articles regarding money-making strategies. And am currently in search of equipment.

Although there are some great 3ccd cameras now available for CHEAP, It seems that to invest in anything other than (high definition) would be to deny the future and some lucrative money making opportunities.

I was strongly considering the HVX-200a, and started pricing them. At around $6K it seems to fit into my price range. I was planning on taking out out a small business loan for about $15,000.

Then I saw them listed for under $3K on (some) websites, maybe even cheaper. That got me thinking maybe I could actually afford a shoulder mounted HD camera, which led me to JVC. The new GY-HM700 looks sweet and GY-HD110U seems to fit the bill nicely as a backup camera - which seems a necessity if I'm going to be doing weddings and such.

Thing is, I want to bring in the most amount of money for the least investment. If I don't have to spend $7K on a camera then I'd rather not, but at the same time I want to be taken seriously. Do you think buying a couple of 110s will do me fine? They seem to have everything I want at a very reasonable price tag. And I love that they look like news cams, which I'm used to working with. Am I missing something?

Any advice you can give would be GREATLY appreciated!

(Used with permission from L.) My reply follows:

Glad to hear you're headed into the independent ozone layer. It can certainly beat working at a desk, though you'll likely spend a lot of time in front of an editing system. Been there (desk jobs), done that, for years as a newspaper journalist, editor, and owner. The news, however, can get you out of the office a lot. You mention places in Texas where I have lived and worked - very few of them non-journalistic or news positions. I have worked for newspapers in Houston, Abilene, Sweetwater and several other Texas cities. Small world, huh?

There are certainly a number of ways, IMHO, to approach your new direction, equipment and perception (the client's) being not the least of your concerns. In spite of my absolute knowledge that it should not be, appearance or the impression that your equipment is top drawer and professional does play a major role in how you are perceived/received by those using you. But...

...you can also market yourself, and your demo reel without most clients ever asking about your equipment, so long as you deliver a quality/compatibility they require. Using quality equipment that does not necessarily meet the visual standards some clients have (often based on what they hear, read or see, rather than what they know), can make you plenty of money and get you plenty of business. And, without having to impress upon your potential market the "professional" level of your acquisition equipment.

There are a wide range of smaller units that can and do beat the socks off many of the lesser-priced shoulder-mount units. And, the habit of using sticks or a monopod for increased stability (not always the norm) of your shooting will do you well. That being said...

...having read some, or all, of my blog articles and posts on various forums - www.videomaker.com www.dvprofessionals.com www.wedvidpro.com www.videouniversity.com to name a few...you certainly must see how pretty much any day, with pretty much any decent quality system can make you money.

So, you wonder, how much do I HAVE to spend to be a professional in the full range of potential business - ENG to wedding, to school event, private events, etc.? I have been making money doing practically all the above, and more, using my standard definition Canon XL1 and GL2 cameras, Mac G4 and Final Cut Pro, even a LOT of editing performed on my old trusty Casablanca Classic. In fact, I am STILL using this system setup and bringing in a decent annual income. No, I still have not become rich. :-)

I do realize that high def is the direction things are taking, and that a number of my clients are equipped for and will soon be asking (if not demanding) that I provide them with wide screen HD. A mass delivery system using Bluray hasn't yet manifested itself, but sooner or later an affordable, less protection/rights hassle, formula for delivery of HD on disk will prevail. Until then there are numerous workarounds and acceptable levels of HD delivery out there - though requiring a degree of research and investment of time and money to determine what delivery system might work best for any individual in his/her respective market.

Keep in mind, too, that with the plentiful and affordable supply of up-rez capable playback systems, many people are either unaware of the difference while watching SD, or totally satisfied to do so. That is, perhaps, why a lot of our otherwise HD oriented, wide-screen using clients are not bugging us about how we deliver their product.

Even knowing what I know now, if I had it all to do over again, I'd like to start off with the best I could for the most money I could afford right off the bat - money/budget being no object. That isn't and wasn't the case with me, (money being no object) and it apparently isn't with you. We have to find an acceptable mid-point between investment, ROI (return on investment), and the ability to jump in NOW with marketing, production and making money (profit?)

That doesn't always mandate having the latest, best or even current level, to the degree rapid advances in technology will let us, of leading edge, front-running equipment. It is impossible, IMHO, to a great degree to "futurize" our investment in equipment much beyond a year-at-a-time. Things move, like I said, too fast, and it would cost you/me a fortune just trying to keep up.

I am in the process of "upgrading" if that is a true term of what I am going to do, to high def production using the current iteration of Mac Pro 8 core with the current iteration of FCP, along with two new HD model cameras, either the Panasonic AG-HMC150, or JVP GY-HM100, both shooting on SDHC cards instead of tape or portable hard disk drives. My total re-investment will be in the area of $12K.

Can I afford it? Not really. Do I HAVE to? Not really. But it is time, market-wise, for me to do some catching up, especially in light of the type of clients I have and want to retain in the foreseeable future. But I also have NO DOUBT that I will continue producing a boatload of SD project, editing and delivering on non-HD DVDs, or electronically. The irony here, also, is that I don't perceive being able to charge more for what I do, or making any serious upswings in my level clientele, or their production budgets - not in the areas of video I prefer to work.

Research and determine for yourself what area you will concentrate the most in pursuing independent video production. Base your equipment needs on THAT level of need, then when you CAN and WANT TO, move to a higher level of equipment in pursuit of a more demanding client base.

Do you HAVE to go in debt for $15,000 to get started? I really don't think so. I know you want to have the look, perception and potential of professional, visually, and with a bunch of the accompanying add-ons you think will convey that - expensive offices/studios, multi-line business phones, Mercedes or Jaguar transportation or, if you want to flaunt it in the faces of the eco-friendlies, a Hummer - gotta have a way to move that equipment, right?, high-end laptop, or portable studio system, etc. All that is well and good. He/She with the most toys...
...well, sad to say, doesn't ALWAYS win.

The first big mistake of my career in newspaper publishing was thinking I needed the office, the phones, and a bunch of other stuff that conveyed the image, but put a serious cost load on my business. I spent most of my time fighting to stay afloat and maintaining the image, instead of doing the stuff I think I am good at, like marketing, pressing the flesh, and producing news that set me apart from my competitor and former boss. Oops.

Subsequent independent business efforts became better, more productive, dare I say "profitable" as I learned that appearances can be expensive to maintain, and up until today when I realize that the most effective "appearance" I can work for is developing a quality product for a reasonable price that appeals to a broad spectrum of potential clients. For me, for now, and for several years to come, if I decided to do so, that would be exactly what I am producing on NOW - standard def with my Canons and Mac G4-FCP/Casablanca systems.

Ironically, that particular setup would put a person in a very lucrative position to start making money instantly using the various and many marketing concepts I have blogged about, selling "Video for All Celebrations of Life!" (© Earl Chessher, 1990-2009), and saving money for the full-blown, decadent high dollar equipment and setup when you want to, or because your client base demands it.

HD will open some market areas for you that SD will not, but not many. Not really, not when a lot of HD producing people are bumping their final delivery back down to SD because of various HD delivery issues. However, if broadcast, entertainment, major commercial/corporate and similar markets, (read, heavy competition here) are not your immediate focus, and can wait for establishment of yourself and your work as viable and desirable (or affordable), a future upgrade easily made because you are profitable and have been setting aside money for it, then there's a LOT to be made by using SD production.

You're right about some "great" equipment being available "for cheap" - for example, I am probably going to let my G4/FCP, ScreenPlay editing box backup, a Glidecam V8 full support system, Canon XL1 and Canon GL2 go for somewhere in the neighborhood of $6K, give or take. That equipment has done well by me, and will offer somebody looking for entry level ability a lot of bang for the buck - cheap! This is about half of what my upgrade costs will be, and less than half of your small business loan target.

I highly recommend too, that you work in a small office, home office SOHO environment, use your cell phone for communications and forget, for now, the "looks" and go for the bucks. No, I am not actually trying to sell you my equipment, though I would if you wanted. I believe advice I'm giving either way.

Yes, you actually can afford a shoulder-mounted HD cam. THE JVC IS sweet, but I agree with you that you could certainly get where you want by using two "matched" (a loosely applied term for two of the same model) JVC HD110U models. Two HD110s will do you fine, and if you are missing something, so am I. There will ALWAYS be trade-offs between models and makes, and somebody somewhere might pipe in and say we are both all wet in our understanding of this model as opposed to other options. Opinions are like dreams, everybody has one - and the other, more familiar asset that everybody also has.

I have written a lot here. Some of it might be what you want to hear, some of it not, but all of it is my best attempt to give you information, ideas and opinions that I hope might be useful in your decisions. Keep me posted.

Word to the wise. Be wary of places offering equipment for pricing that is well below what you have noted as the norm. I'd suggest B&H Photo Video, not exclusively, but certainly, if you can get past that initial N.Y. "attitudeness" a great company in which to place your trust. There are others, but start there. They have pricing that is often a bit better than usual, but usually more than the jerks trying to rip you off. I'd be cautious about really low price postings, also with on-line bidding purchases. Trust is a hard thing to share, or confirm though there are a LOT of good, honest people with high levels of integrity "out there."

Final food for thought: wedding video production is probably the MOST hours of work for the LEAST return of any other potential market for the independent professional video service provider.

Good luck, and my regards.

Bad News is Good News!

BAD NEWS IS GOOD NEWS and
good news is bad news, generally speaking, if you want to break into the life of a news stringer.* (See Nation Master) Essentially you are working "on spec"* (doing work for free, hoping to get paid) with the thought that something you videotaped, photographed, wrote or reported got past the local broadcast television, cable, or web news channels, or newspaper, news magazine desks and staff.

And, that your information (news) is unique, hopefully a "scoop", "first in", or "exclusive"* (you are the ONLY person on the planet who has it; you are the FIRST person on the planet to report it; or, you have something HOT that you are offering ONLY to one news outlet - the "badder" the better!)

While personality profiles, human interest, interviews (unless you have an exclusive on-camera interview, and signed release, with, say, President B.O. regarding a 12-year-old affair with a waitress at Denny's), are solid "filler"* (in print, the articles filling the space remaining after the ads; on television/web video, the audio/video/print elements giving the station/site content and substance) material for most news outlets. These are routinely planned content assigned to staff, and based on the news outlet's general political position, philosophy and approach.

This leaves you with a few decisions to make regarding your efforts to establish yourself as a reliable, valuable, professional news resource who works outside normal channels,* (See TruTV) and maintains a high level of accuracy and integrity. I know, I know, doesn't sound much like many of the news people you know about. On the other hand, this would still be the direction I suggest you take to get yourself inside most news rooms. Initially.

DECISIONS SUCH AS
• Do I purchase a powerful mobile and home scanner with all the bands necessary to chase ambulances, fire engines and police cars?
• Or, do I simply run the roads, prowl the neighborhoods and case the capitalists, looking for that event, situation or happening based on being in the right place at the right time?
• Or, do I focus on a specific area - hang out on Hollywood Boulevard, California, for example; or the state capitol, provided I live in the right city?
• Or, do I roam the bad areas of East L.A. at night, my camera my only concealed weapon, confident that I can handle myself in life-threatening situations and get another side of the story - whatever "the story" may be?
• Or, do I focus on area industry, keeping constant vigil on the local brewery, manufacturing plant, or strip mall odd-ball, looking for an EPA violation, or unethical business operation?

While murder, rape, armed robbery, multiple alarm fires, major accidents with death, cop/suspect beatings, as well as airplane crashes ending in death for all certainly crowd the prime time airspace for broadcast, cable and often web news video, as well as the front pages and covers of printed news, there are certainly elements of good news that can make you a dollar - first video footage of a plane landing safely in the Hudson River, for example. (See Stringer)

STARTING OUT YOU
would want to research your potential area news outlets. A good place to start might be HERE and do a local search for WHAT? news televisions, WHERE? your city, state, but a simple Google search should get you more than enough lists/resources to approach, even offering other articles related to this area of work. You will have options, or not, depending on the size of your coverage area and the dominance/size of stations available to you. Some larger stations have a special department or agency that fields stringer inquiries/offerings. (Check out Know It All Video. and Kick Apps)

You will also need equipment that meets your news outlet's quality requirements. While a Second Coming headliner might make your footage valuable (remember the Zapruder film?) no matter what format you shot it on, the lighting or audio quality, or lack thereof, you will want to get something that proves generally acceptable, quality-wise. Ask the stations for whom you wish to work what their minimum requirements are.

The more "depth" your report has: getting releases where possible, getting officials/eye-witnesses to state their name and spell it before doing interviews (yes, interviews with clear audio, where possible can enhance the "sell-ability" of your news. Make notes regarding time, location, circumstances, etc. Be accurate and when you contact your preferred news outlet tell your contact what you have without blowing it up out of proportion. Experienced news persons will have a high sense of perception, or can often judge the BS level, for what you are telling them.

PREPARE TO PUT IN
primarily hours outside regular daytime shifts. Evenings, all "nighters", weekends and often holidays are your best bet for running into something the news people have not covered. If you are a night owl, workaholic, freaky zealous news hound, aggressive, bold and determined, your efforts will pay off over the long haul.

It isn't going to work for you if you attempt to compete with the regulars, or even alienate yourself with them by stepping on their toes during a major news event. While you can work these events it is not very likely you will get something they missed, especially if you were not first at the scene. Get in and get out, unless you do establish some contacts with the local officials or first-on-the-scene witnesses, people willing to talk on camera and where possible, sign a standard release. I know it's news, but still you want to get all the CYA backup you can, even to the extent of getting a verbal release on camera during the process of getting their names and proper spelling. And, for goodness sake, if you were successful in getting an official to contribute, get the official's job position - officer, sergeant, fire chief, city commissioner...

YOU WILL MAKE MONEY
occasionally, lose to somebody first on the scene, come in second and waste your time, and on exceptional days even get something that will bring you a few thousand dollars. The range of payment is from zero to several thousand, but a significant portion of your checks will be well under $100 as a rule.

It all depends on your business acumen, your production savvy, your boldness and determination, your competitiveness and the quality, consistency and accuracy of your work. I am repeating myself but, in time your attention to these qualities will begin to pay off. You could even, if you wish, wind up being offered a full time position with your favorite news station, news publisher or working for a salary with a web news group.

Generally, stringing for television, radio, publication or web doesn't pay much. But the opportunities for stringers are better now that many news outlets are also experiencing budgetary/income difficulties, even laying off regular staff. If these organizations want to survive they will need to develop news gathering resources somewhere. This is where independent professional capable and consistent you, the stringer, comea in. Stringers, while even detested by some, whether or not the "big guys" like it, are essential to today's social craving for instant news.

KEEP THINGS SAFE
by realizing you are likely new to this arena. Just as it is suggested that you read and lurk a bit on various forums before joining in and offering your two-cents, do the same when approaching news event coverage opportunities.

There is, of course, room for belligerent, aggressive, obstinate and physically/mentally dominating individuals who are willing to step on any and everybody to get there first, steal the scoop or demean the competition - but room only because they are professionally challenged. You will be resented, black-balled and even aggressively put into your place by other experienced alpha-types if you elect to go this route.

Practice deference as well, and respect the emergency rescue, fire fighters and law enforcement officials present who are there to do a job. Even if you perceive they are NOT doing their jobs, or are unnecessarily restricting your access to the event, there are ways to work around this without chest- (or head-) butting with them. You will absolutely, positively get nowhere fast otherwise.

How you approach major news events such as multiple-alarm fires, airport bomb-threats, major vehicular accidents, train wrecks, hostage situations and more will mean the difference not only in becoming a productive and successful stringer. It also will affect your life, health, personal safety and legal risks. Keep safety and common sense right up there with determination and professionalism when working this kind of opportunity.

COMPLETE AND DEFINITIVE INFORMATION
regarding development of a successful stringer career is huge, and well beyond the scope of this blog article. In my humble opinion the single, most effective learning resource in preparation for pursuing a career as a stringer is to watch, read and listen to every news source you can, every available minute you can; research every resource you can find through the web search engines regarding news stringer jobs/positions; and prepare yourself mentally for a potentially dangerous, exciting and rewarding gig.

Other information links include this site, and ehow. Also, while at local dot com, do filter searches there for cable TV Companies, Television (TV) broadcasting companies & stations, satellite television, etc. You can also go to Writer's Market, if you prefer to check out news publication markets for submitting written news articles. There's a bounty of other options, check out Sell My Video for starters.

DVD "Letters" for Cash Flow

If you're not afraid to work, market and try something low-budget that will keep you busy, generate exposure and referrals, and bring on some cash flow, take a shot at offering DVD Video Letters. If you haven't been living in a cave, and your friends and associates list isn't totally blank, and there's actually someone in your family who still loves you, you should have enough resources to get something going with this simple service.

Over the years I have generated personal DVD letters, most recently sharing them once a week with my Dad. Mom left this world on the morning of January 27, 2009. Dad, having been married to Mom for 62 years, 65 years including their courtship, is having a really tough time of it. While most of the family is near enough to visit, I am more than 1,800 miles away. Phone calls are nice, so are letters, but I've been sending Dad DVD video letters of 15 to 30 minutes in length, the first one an hour, sharing our mutual memories, grieving, smiles, inside jokes, laughter and tears up close and personal. Dad, and the rest of the family, loves receiving them, their intimacy.

It's nothing new, nor that difficult, but most people, even amateurs/consumers, do not take the time to do this. It is either too much trouble, technically challenging, or they simply cannot focus on developing content, setting up the equipment, packaging it nicely, then getting it off in the mail. Like written letters that more often than not wind up becoming wads of paper tossed into the trash, or otherwise never mailed. Cards, postcards are simpler, short, sweet and to the point.

But, if you really want to "reach" someone you care about, or propose to them, or generate something warm, personal and special, a "card" that will likely never see the trashcan, will be watched time and again, generate anticipation for more to come - send a DVD Video Letter. These "letters" offer another value, they represent serious historical archiving for the years ahead and generations to come.

Being a professional independent video services provider, you know how to do this simple and quick. Camera, tripod, natural lighting, on-camera mic (or other more direct recording if you are comfortable with it), a nice, quiet location and less than an hour of time for you and your client. There are a number of ways to deliver - to tape then bumping over to DVD, direct to hard drive then bumping over, direct to DVD recorder. If you have one of those affordable Video-to-DVD transfer boxes, set up the connections and you can record directly to DVD and hand it over at the end of the session.

Price it any way you want, but I find that by making these relatively affordable, quick and simple productions, I can expect to do as many a month as I desire - or none at all if I get busy with something bigger. The availability of this service is always there, and there will be people receptive to paying you for doing this if you market to them. I charge $50, up to $75, for one hour, plus two copies of the resulting DVD. I have charged as little as $35 for a half-hour straight shoot, handing over the tape/DVD. Your mileage may vary.

As I have written before, great ideas don't work unless you do. It is easy to "poof" at something that actually calls for a bit of effort, like marketing and producing DVD Letters, but there's a lot to be said for the small things - even pennies add up. If "lazy" isn't your problem, try this simple service that is easy to market and can generate instant cash flow.

OK, the economy is down, phone doesn't ring much anymore, you are tired of investing in and working bridal fairs for no immediate returns, and have revised your web site(s) and worked every strategy you know to get Google's, or other search engine's attention. Wedding referrals still come, but have slowed down and you've even caught up with last year's editing backlog. To make things even tougher cash flow has dried up, or slowed to a trickle.

Elton John sang, "time on my hands could be time spent with you," but that isn't paying the bills, or making you feel all that worthwhile, and your marketing drive has shriveled to a raisin, from what was once a prune - I know, plums make prunes, grapes make raisins, but you get my drift.

One thing you have of value that you might not be using to full potential is that list of clients you've delivered product to over the years. Or, maybe you haven't been in business long enough to have such a list. Or, you have names and addresses, even e-mails, but business has been so slow for so long that your client contact list is probably not the most accurate ruler of your success.

If you don't have a good list to market to, there are ways to generate one. Take a trip around the block, check out the area market bulletin boards, collect names and addresses anywhere you can, white pages listings? Just about everybody has an e-mail list. While I'm not particularly fond of marketing via e-mail because I have found it relatively ineffective, and I don't want to be perceived as a spammer or blast mailer, I do use this method to contact people in my inner circle.

As much as I have tried to discourage my family and friends from sending me forwarded e-mail consisting of pyramid schemes, dried up jokes, weird web site listings, etc., they continue to do so. Initially I just trashed them. If you are willing to take the risk, however, you'll notice a huge e-mail list of all the people your family member or friend included in that frustrating e-mail to you. A few you will know, a lot of them you will not. But you can name drop the sender, and open some doors without coming off as a total spammer. A lot of them will read your offer because they know somebody you know. Some will respond - positively, not with an all capital letters attack.

School Spring Events Kick Off

You can find some great marketing pointers by checking out marketeer Steve Yankee's "12 Ways to Market When the Economy Sucks" - this music/band lover's ongoing blog Marketing Mojo is worth visiting from time-to-time.

Jay Michael's In the Viewfinder will keep you informed, entertained and aware of "things video" from marketing and resources, to what Jay is currently focused on in his own video production efforts.

But, before you go off checking those links, take a moment to continue reading and kick off your marketing efforts with spring school events that are scheduled, planned and kicking off as well. The time to get in touch is RIGHT NOW!

Design a colorful postcard or develop a one-page marketing letter and let the schools in your service area know you are ready to do business making affordable video DVDs of their spring productions available.

Tell them that YOUR COMPANY is the "go to" producer in their area for professionally videotaped, edited and packaged quality DVDs of their spring events in dance, drama, band concert and choral. Spring is also when flag teams, drill teams and other groups hold competition as well, opening up a whole range of business possibilities.

In my last post I noted that working on spec isn't necessarily a bad thing, and this approach could open a lot of doors in the spring school events kickoff. Another approach is to establish the minimum sales you can live with and offer to produce at no cost to the organization or school, instead offering direct sales to individuals at a reasonable price per copy.

What is a "reasonable" price? Well, if you've read any of my articles you'll know that I am content to produce video of events two hours, or less, in length, for a minimum of 20 copies at $25. Your mileage may vary, and you might have to go the "spec" route at first, but the business is certainly out there and just waiting for you to let them know you exist, and that you want their business.

DO YOUR RESEARCH FIRST
Check if the school has a web site. If so the school will likely post an events calendar, and you will be able to find out who your contact person(s) is/are. It is always better, in my humble opinion, to get the promotion materials into the right hands - band director/instructor, choral director, dance director, glee club or parent support group president, school activities director, etc.

Find out their names and use them. Believe me, it can make all the difference.

What if the school does not have a web site? Make the call. The young lady, usually, who works the front desk will often gladly take the time to provide you the information you need, or mail you a directory, or even forward you to the right person for that information.

Some of you in the video business are not particularly comfortable in direct marketing calls/contact, but believe me a friendly, unassuming voice (smile when you are talking, it works) saying something like, "I have some information about my services that you will find interesting and compelling. I would like to send it to you directly, or send you an e-mail today. I know you might have choices in video service providers but you will find my approach can result in a high quality production with significant savings. It never hurts to check out your options, right?"

DESIGN YOUR DIRECT MAIL PIECE
Postcards can be simple, affordable, easy and quick. Use an actual photo depicting the event you are targeting - choral group singing, dancers dancing, bands playing, or an instrument, or even a picture of a school, or a modernistic illustration compiling stylized images of these events, even an abstract. The desire here is to make the front of that card colorful and simple - eye catching. Use few words.

"Professional Video Production at NO Cost to Your School!" or, if you want to go the "spec" route, "Get to know us - professional event video! NO cost to You!"

A short paragraph on the back, followed by CALL NOW TO BOOK, and your contact information. Simple and quick, and unless a video company has been doing a slam-bang job for this group for years at giveaway prices, you will get a shot. They will inquire.

Virtually any video, photography or trade publication - MacWorld magazine, Website Magazine, Videography magazine, for examples - will have a number of ads, usually on the back pages, of print companies vying for your business. I have had a good experience with a number of them. America's Printer is one; also PrintRunner. If time is too short for designing, printing and mailing postcards this season, use a one-page letter.

WHAT SHOULD MY LETTER SAY?
Obviously you should have professional looking letterhead with your company name and contact information. But if you are simply an independent individual, then take a shot at setting something up on your computer/word processor with a nice, clean font for your name/contact information.

I might send body copy that says:
"Dear (activity director's name)
I specialize in affordable professional video production services and want to produce your (Spring Fling, Spring Concert, etc.) this year at absolutely no cost to your group, organization or school. How?

APPROACH A
I realize you may have choices in a professional video services provider. As an opportunity to get to know me, my company and the quality of our productions, I will videotape, edit, produce and package video DVDs of your (event name) in a professional manner and quality.

I provide copies of performances of two hours or less for $25 each. If even one person, parent or student purchases a copy, I will not only deliver theirs, but will also provide you with a complimentary copy at no charge.

Call me today to arrange for this unique, one-time "get acquainted" special offer, and place your event on our production calendar.

APPROACH B
Direct sales to parents helps defray production costs, and I will provide the order forms for advance sales.

Simply distribute the forms and accept cash/check payment for a minimum of 20 DVDs at $25 each, and (company name) will provide complete professional video production services at no additional costs.

You may, if you wish, deposit order payments and issue one check to (company name), or we will gladly accept direct checks/cash payments and provide you with a list of each person who orders, the number ordered and total receipts.

We will deliver all orders received, prior to and following, (event name) within 4-6 weeks, direct to you for distribution. Other delivery arrangements are available subject to additional costs.

Call today to schedule (event name) on our production calendar. I (we) look forward to hearing from you soon.

THEN...
If you have any further questions or concerns do not hesitate to call or e-mail. We would LOVE to work with you!

Regards,
Name and signature

I DO IT THIS WAY
Keep it simple.

I believe in event video production we sometimes go overboard with production efforts that might result in a high-end style production with lots of camera angles, moves and booms, cranes, stabilizer, multiple mic placement and some seriously complex editing.

These productions might include complex graphics, composite sequences and special effects, plush graphic inserts, library cases and more.

It is my professional opinion that while such productions are certainly (or can be) awe inspiring, get us (maybe) into the big time, whatever that is, and make us very proud of our capabilities - all those people watching us work this complex production magic during the event. Oops, they're watching US, and not the event? That's fine, they'll get to see it when they purchase a copy at $55, $65 or $75.

I hope these producers DO get that kind of money, and a significant number of sales, because all the trouble they've gone to is certainly worth the purchase price. But, in the real world, especially these tight economic times, they are over producing with no hope of recouping production costs, much less making a profit.

It is my experience that people want quality imaging and audio with a minimum of whizbang POVs, special effects and creative embellishment - meat and potatoes. And, they want it at a reasonable price. I have found the meaning of "reasonable" to be somewhere between $18 and $25, depending on a number of factors such as length of performance or total numbers ordered, guaranteed high sales volume (100 or more), etc.

We shoot two-camera, two-operator, side-by-side (stereo, if you will). One camera follows with close up shots, medium shots. The other shoots primarily full stage, occasionally tightening up for small groups, or split-mic vocals, etc. The full shot is used as a base, with the follow camera shots inserted where needed, and/or where possible to enhance the production with a minimum of editing effort.

I usually use the live audio from our on-camera mics (they're relatively decent sound quality, and having the audio from both allows me options to build up, or enhance by sometimes doubling from both). I also usually distribute at least two, sometimes four Zoom H2 digital recorders where I think they will be most effective. I use this audio when and where needed for clarity, or to boost, or ambient sound, whatever. It is my personal preference, after many a sad experience and audio circuitry damage/repairs, to not utilize audio directly from any existing sound board/system.

IT'S A WRAP!
So, just as you would include a call to action on your mailings (CALL NOW! CALL TODAY!) start planning, research, development and mailing NOW! TODAY! and get your share of this lucrative market while it is hot!

Working "On Spec" Not Necessarily a Bad Thing

If you don't mind gambling, and still believe in the inherent goodness of humankind, working a production "on spec" is not necessarily a bad thing. In my early days of video production, and even today, I have used this approach to open doors to new business.

Not once in more than 15 years have I failed to get the return I expected, and often more than I anticipated, by offering a group, organization or school this approach to getting to know me and my production company, opening doors for lucrative emergency business and future repeat clients.

Just for your information, I often have run into photographers, some of them members of a huge operation/company, whose only approach to business is to cover events on spec. If you aren't familiar with the term - on spec generally means you are willing to shoot, edit and produce a video product with no promise or guarantee of sales, payment or income. You are "speculating" that enough people will see you in action, and want a copy of what you are producing, or will visit your website for a taste of a clip sample and then want what you are producing, that the effort to do this will pay off in some way.

I have an introductory special for paid minimum sales gigs where I offer to shoot up to a two-hour performance, edit and produce DVDs for a minimum of 20 units at $25. I rarely ever have to offer on spec productions anymore, but it is a way to open doors if the economy has slowed things down in your area. It is also a way to develop long-lasting new business relationships where second season and beyond clients return for a more lucrative agreement, or the minimums I mentioned above.

Only one client out of many, many clients past and present has steadfastly stuck with the minimum 20 at $25 offer. Mostly because this client only has an average of 18 dance students in her class, and mostly does the whole thing for a hobby. She has often paid for the additional two to meet my minimums. Since her productions are almost always barely one hour in length, I am content to maintain this arrangement with her, rather than lose her as a renewable income resource.

Also, I have obtained other business, referrals and even a wedding or three from her, her associates, class members or parents. The exposure has more than paid for sticking with a loyal client who returns year-after-year, and can be counted on for receipt of payment when I show up to shoot. It is an easy $500 gig.

As for the rest of my event clients, I have always averaged 50 units, or more, in sales. Some top the 100 mark, and I collect $25 for each and every sale. I will often comp a copy to the owner/director/organizer when sales top 40 or more. I provide advance sales order forms, or a copy they can duplicate and distribute.

Back to shooting on spec. Rarely will any martial arts group, youth sports group, school performance group, church activity, car show club, or any other event you can imagine pass up on the opportunity to receive "professional" quality production if it isn't going to cost the group a dime. Individual sales set at a price point with which you can live carries the weight of production costs, and will virtually always result in making $500 or more for a gig of two hours in length, or less.

Shooting on spec is a great way to fill empty production calendars, to expose you and your company to more people, develop branding and company awareness, and even drive clients to your website(s) if you post sample clips and provide ordering convenience from your website. I personally haven't established a clips and on-line sales element, but within the next few months I will be totally revamping all my business websites, and offering this avenue for people to order on line.

Give it some thought. Decide what you are willing to take a chance on, then go out there and find events that appeal to the gambler in you. It will almost always give much better odds than Vegas. Really.