General Video Business Philosophy

The following was a recent forum discussion I posted that got a couple of interesting responses. I hope my response to one of the people, a video/film student, might stir up some thoughts, or some exchange of philosophy regarding our business.

This may be too open, personal or embarrassing to invite candid responses, but gotta ask it anyway. You who are in business as independent professional video service providers (some say "videographers") either full time, or putting in a LOT of hours part time, with the income thereof being important to your fiscal survival - are you making money, getting all the business you want or need, or making a profit?

Why? Do you think. Or, why not? Do you think.

How are you making money, getting business, making a profit?

What are you doing to change that if you are not?

Could be a lively, informative discussion. I know many of us tend to inflate things a bit, not wanting others to know how difficult our struggles are.

Me? I have feast AND famine, and not much rhyme or reason for when either hits. I market often, constantly, and vigorously via internet, direct mail, and occasional print advertising, as well as engage in guerrilla tactics. Each surge in my marketing efforts results in a surge in business. Each submersion into a state of non-marketing funk results in less business. On an annual basis, I am comfortable with my gross income levels, but I would rather be in the $100,000+ range than under it.
I have EVERY expectation of topping that marker this year, based on a variety of things I am pursuing, doing or that are in/on my 2009 marketing program planner/agenda.

What say you?

After the reply from a forum participant, college student and video business upstart, I shared the following:

I suspect that the number of people who gravitate toward video production from non-related educational and previous work experience backgrounds might be equal to the number who elect to pursue the business formally via education, working at an apprentice level, essentially being hired on as a "go for" or gopher and "learning" the hard way with menial tasks, responsibilities and as slave labor. The industry's sad way of taking advantage of some pretty good resources - if only more of them would treat excited, adventurous and willing newcomers, or graduates with a LOT of respect and a little better pay scale. You want cheap labor, go to a third world country and dodge bullets :-)

You have set off on the right path, as (another responder) notes in her reply, by starting to market yourself, by realizing that marketing and advertising ARE full time endeavors that will ONLY pay off if you utilize all the possible resources at your disposal. My mantra has for a long time been, "If you market, you will make it!" © Earl Chessher You only have to read a bit of the articles (on this blog) to realize how seriously I take diversity, marketing, branding, marketing, advertising, marketing...you get the picture.

Being a full time student, AND working at development of a business, maintaining a business plan and sustaining it, maintaining a marketing drive and sustaining it is certainly a full time + job. It is very similar, I suspect, to how those of us who came in through another entry, or even the back door - working a 40-hour or more per week primary job, while maintaining and sustaining a full-time-hours "part time" approach to establishing a successful video production business. The hardest thing for me to establish in my own mind is the term "successful."

I THINK I am successful, but I'm by no means where I want to be in terms of how MY mind views success. Like perfection, success (defined in a way MY mind can grasp it) seems more like a goal rather than a destination. I suppose my final degree of success will be judged upon me by family, friends, peers and competition sometimes mis-perceived as "the enemy." :-)

You are right about how easy it can become "...spending too much time making productions for a few people for free..." I used to think I was obligated, or felt obligated - that I "owed" people something, needed to "give back" to the community, etc. Hogwash! Yes, by all means do something altruistic, help humankind, give of yourself, but first and foremost do FOR yourself. Until you are in a position to help others (who REALLY need it) more, do what it takes to put you in a position to go that direction - think Bill Gates, whatever anybody wants to think of him, he's plowing money back into the world community with little or no hesitation. Also, however, think Donald Trump who made another saying popular besides "you're fired" when he noted that some business-focused action was "Nothing personal, just business."

I am only just grasping with some degree of consistency that I HAVE to depend on myself for the success of my business, for the continuance of my business, for paying my bills and fulfilling my obligations. I am only just grasping that I MUST be true to my needs, and my company's needs, first before even thinking about focusing on the needs of others - be it business, friends, even family. Yes, I continue to have problems balancing my emotions, feelings, business acumen, etc. and often make poor choices and decisions. But I am aware, and try to maintain a balance of some kind in the process of my daily endeavors.

Setting up your web site (I want to see it when you're up) and making yourself a legal business entity are important steps. Remember also that your web site will NEVER be finished - that goal vs destination thing again. You will forever be tweaking, maximizing, minimizing, mitigating, changing, improving, updating. Another burden to bear in the business of doing business. Your higher education will make some things clear, while muddying others. Only real life experience, going for it, jumping in (well, into say a cold lake as opposed to the mouth of a volcano - recognize the difference between being foolish and being brave) and taking a shot at it.

Storytime: Had a friend who was already running a successful business. He'd paid his dues and learned the trade as an employee for a major area industrial/home pest control expert. He supported his employer and was loyal, and one day began making arrangements with his "boss/friend" to purchase some of the action. Over time the boss retired and David bought it all. He paid it off and brought in a half-million a year or more killing pests.

But he also enjoyed video. We both became interested early on in public access and joined the area program. David also started taking courses at area colleges. He kept taking courses, volunteering at the local public access station, taking courses - saying he wanted to learn all he could before "jumping into" video production as a final destination or side business. We did a LOT of video together in those early days, but David worried that he didn't "know enough."

I began marketing, developed a fairly basic web site, printed cards, advertised, talked incessantly about my "video business," did stuff for free and occasionally started getting paid. I did charity work, and got a few big breaks through the University of California system - did good stuff and they kept coming back. Things began to grow, then die, then grow, then die...they still do. Feast and famine, but you can mitigate that frustration by sustaining a marketing endeavor ALWAYS. NEVER stop marketing.

David finally gave in, or up, and occasionally does a bit of stuff at the public access station. He wants to retire but a few things took a wrong turn, now he's had to re-enter the pest control business after unsuccessfully retiring, and HAS to work at something he now really dislikes. He still talks about doing video, and told me just recently: "I guess I should have focused more on gaining experience and 'just doing it' like you told me, Earl." David admitted he was a "bit intimidated" by tackling another profession or business after all his work in another, and used "educating" himself as an excuse for not taking the leap forward.

Your statement is an accurate one: "Working as a professional requires a constant 24-hours-a-day commitment which is key to success; the marketing, production, hiring of crews, financing takes time." You can be fiercely independent, running the show and only doing what you yourself can do, charging more as you gain experience and qualifications, jobbing yourself out to others who recognize, want and need, and are willing and able to pay your worth to make their projects the best they can be. You can elect to seek growth and become a major company, a major employer and a successful mega-millions business enterprise. Either way you can achieve success. Actually, I don't know if either one is any easier than the other - depends on what you personally want to achieve.

I adhere to a "work once, sell many" approach where I produce performance events with the potential for sales of dozens to hundreds of copies, and prefer to keep the work load within my abilities to do alone, or with my partner and the occasional assistant, even occasionally jobbing something out and handling the business and receivables/payables myself. I do, and have, taken on larger productions, and have gained invaluable experience, resources, new and renewable business and headaches from them.

I preach diversity in production for the independent professional video services provider on this blog site, and most anywhere I participate - forums like this one, and videomaker, and video university, and wedvidpro, etc. I twitter and facebook information or links to information. I do what I can to encourage others in the business community, and also to eventually build up a relationship with enough followers that I can finally share a "monetized" version of my advice, articles, experience and ideas.

Video production IMHO is an awesome and wonderful business that provides maximum reward for maximum effort, but also requires very little beyond a devotion to doing it right, treating people right, and demanding that others treat YOU right. Honesty and fair play can take you far, but you also have to be willing to put on the gloves and duke it out. You'll know, if you have any drive and gumption at all, when fairness will work, and when the gloves HAVE to be applied. Trust your instincts.

You asked how I got started...

Briefly: I have been a writer and keeper of family history and stories all my life. I have spent the major portion of my professional life as a writer, publisher, journalist and photo-journalist and pretty much anything related to these areas. The transition to video, for me, was a natural one.

I wanted to establish myself as a fiction novelist, and published/paid writer of magazine articles. The road is slower, long and difficult and everybody, it seemed to me, also wanted to be a writer. In these subsequent years the printed form is taking a hit of sorts, so maybe I picked a better path - video.

Video quickly became a source of instant gratification - a short time between effort, and receiving money for it. It allowed me to be creative and also requires of me professional discipline and focus on making productions for others so I can occasionally, and perhaps one day ONLY, do productions I want to do. That day is still out there, somewhere, waiting for me.

In other words I had the personal interest, creative, physical and mental drive and ambition. Rather than re-educating myself (with the exception of a couple of editing courses, public access and some software lessons on Photoshop, etc. at area colleges) I opted to "jump in" and just do it! I have NEVER regretted the decision to quit my day job and pursue business as an independent professional video services provider.

While many in this industry frustrate me, there are many others whom I LOVE and with whom I enjoy a professional and personal association. Like ANY community/family there are good and bad people, good and bad experiences, but overall the professional video communities of which I have become a part are as close to family as I can get without visiting my brothers and sisters, and my dad in Texas :-)

If you read this far, I am impressed. If not, you failed to get to the part where I said I was impressed.

Remember: If you market, you will make it! © Earl Chessher

Video on the Web

YouTube, MSN Video, YahooVideo, Google Video, AOL Video and Flickr, are just the tip of the iceberg when it comes to options for displaying your productions on the web. In addition to simply “showing” your videos there are resources to help you create, format, upload, display, organize, distribute, advertise...

...even monetize and edit - all on the web, some from your web site others hosted, some free, others for a donation or for pay, all the time. The premium runs from free & cheap to affordable & expensive. Many, many of these options are so simple even I can do it - and that, dear readers, is saying a lot.

As you know from reading my previous post I am in the process of gathering up sample clips, organizing them to reflect the wide diversification of my available services, improving their presentation, content and quality - and attempting to update all this content in an easy-to-find, easy-to-view approach. I'm not “there” yet, but I AM working on it. Part of that process has been researching the many “options" and that, in turn, has led to this article offering links to a huge variety of web video sharing resources.

Here’s what I have discovered in no particular order or preference: Many of you have heard of some of these, while others may not realize there’s much beyond YouTube. At any rate, I'll post what I have and you can take it from there. Comments welcome.

While YouTube is arguably the Big Daddy of video hosting sites, places like BlipTV, Vimeo, Atom Uploads, and Revver have offered viable alternatives. Preferable, actually, for many. Revver also offers its users the opportunity to “monetize” their videos, as does Google Video.

So does Youreeeka, a company now advertising a “patent-pending technology (that) enables you to maximize revenues distributing digital content online directly to your viewers.” With that in mind, you also do not have to invest a lot of money into services like this, as Michael Wright, of Windy Hills Video, North California, discovered recently. No, don’t ask, just check out FaceBook, Twitter and a few other PVN sites such as WedVidPro - the guru of new appliance discoveries has posted it just about everywhere.

First Western Digital’s HDTV player system, now this new gadget - what are you going to discover next, Michael? Guys like Michael Wright, and Jay Michael, are two of many who stay on top of new technology, and share their knowledge and discoveries regarding all things video. By the way, Jay says ning.com is cool, and I have to agree.

Added note: Another reader, Shane, noted that I left out Film Rookie. After his comment mentioning FR I visited and liked what I saw - to the extent that I immediately joined and uploaded a test clip. After HOURS of uploading, and being told the upload was successful, NADA. No clip to be found anywhere! I also attempted twice to contact FR via its "report" form and both times it failed to authorize clearance using the code I carefully entered. Like I said elsewhere, I'll try again when I have some more time to waste.

Speaking of Twitter, the micro-blogging site that is gaining eyeballs by the tankers full. The site can help after you’ve posted your clips elsewhere. Look at adjix.com where the site says short links and tiny ads can generate a “big payoff.” This thing inserts into individual updates and you can get paid based on impressions and clicks. Also, if you don’t know already, check out Cligs, ShortURL.com or BudURL.com - all sites that help you cut down on those lengthy URLs for Twitter posts. They also include reports you can use in assessing your content’s effectiveness.

In addition to FB & Twitter, there are other social sharing sites that might help you in some way. Again, a lot of you know about them, but if you don’t, take a look at Digg.com and Mixx.com - expand your horizons, readers!

Getting back to web video options, marketing, posting, advertising and distributing. Once you have joined such sites as GoogleVideo, Revver, BlipTV, YouTube and others, you have got to check out Tube Mogul where you can upload to all these sites in one shot. Tube Mogul also has tools that help you track which sites are getting more eyeballs.

I read in another place where YouTube is soon to introduce live streaming. Visit this link to see what that’s all about. But the perennial web video hosting site is a bit late to the game when you consider iTunes possibilities, as well as U Stream, and a host of others. For those who have produced commercial/creative or art video productions, and are looking for ways to advertise, distribute and sell using the social sharing networks like FaceBook and Twitter, along with Film Specific, Brave New Theaters, even Amazon or Film Baby, the last two offering order fulfillment, can possibly discover a way to recoup costs, break even or even make money selling their productions.

While many of the above, and those I will soon mention in this article, range from little or no costs, to fairly expensive, I at least want you to know the range of options at your disposal. I will be experimenting with these and others I find along the way, en route to my own web site video sharing goals, including the use of Michael’s recent appliance “discovery.”

Here are a bunch more options, choices, and brief comments regarding some of them, and other places you can go to see what’s out there in terms of making and sharing your video clips. Sites that could make possible marketing, distribution and monetizing efforts that work the way you want them to.

Fliqz web site claims it helps you to “harness the power of video” tracking each viewing and providing reports with useful information. Amazon’s Create Space assists you in uploading your creative content and getting it listed as a regular title. This can make your production (not just video) available to millions who stay connected with the powerhouse company.

In addition to standard definition content, places like YouTube, Vimeo and even FaceBook now provide for high definition. Others as well. But keep in mind that YouTube currently has a 10-minute limit on clip length. You have options elsewhere to pay more, or less, or nothing. Each has its own rules regarding what you can or cannot show. Many of them hold the line at porno (nobody here doing any of that, right?), guard vigorously against copyright infringement, or react if somebody reports an infringement to them. Others are mildly non-reactive, even lethargic.

For content enhancement check out Yanobox Motype for text animation, Red Giant Software’s Trapcode Suite or even Digital Juice.

More streaming services are available at Telestream’s WireCast. There’s also Justin TV. You should at least visit Stream Hoster. There’s also Clip Stream, but it is currently only for Windows. I don’t know about Reel Time but it might offer something of interest. Mogulus is worth a look-see - also known as Live Stream or Live Stream Pro.

Don’t shut down your computer without also looking at imeem, jibjab (remember them?), Pandora TV, VidiLife (not really ALL that good, but) Zippy Video, Zoopy and Eye Spot also is pixelfish. Grouper is now Crackle, but still in business, as is OurMedia.org, and there’s V Social, but it currently can only create 320x240 video rolls.

There’s Bright Cove, Tangle.com, Gubb.TV, DropShots and Big Contact. The Clip Shack, Daily Motion, Myubo (a wireless 2.5G/3G upload site).

You’ve got FlickLife, but I’ve got to warn you it is full of totally raunchy stuff that might detract from your wholesome production clips’ contents. Live Video also sports some raunchy content.

There’s flukiest, and GoFish (now for 13 and under) is now pitching betawave.com as an alternative. Kewego is there, if you understand German. You do have an English option, however. Look at Self Cast TV, Tuberoo and Shout Wire, Viddler, Video Egg and UVouch.

Motion Box and Dabble were/are in development stages and may, or not yet, be publicly available. You should look at Cast Post, Bolt, DiviCast and Blinkx. If you haven’t yet gone loopy with all these sites, try Glide Digital, Loomie, Mefeedia, Pop Cast, Photo Bucket, Break, Buzz Net and Gawkk.

Alas, Jump Cut, offering an easy large window experience will soon be no mas, discontinuing service as of June 15, 2009.

Let’s see...
...I’m going to check out Veeple.com and Vzaar.com for myself, so you might want to look there as well. Check out BoinxTV’s software solutions.

I will leave you with these, hoping that in your spare time :-) you will find the desire to check out a few, or all, maybe even comment upon them here or elsewhere. Until then, I am busy working on the options for my own web site(s) clip updates and revisions using some of what I have discovered among the possibilities.

Remember: If You Market, You Will Make It! © Earl Chessher

Marketing: Full-Time Commitment

I have been remiss in upholding the number one commandment regarding marketing, branding and effective sales generation - maintaining a full-time commitment to marketing.

While I am torn between many fronts, all demanding my time, I spend too much in some places, not enough in others and avoid the obvious when it comes to what needs the most work, attention, time and effort.

And my business web sites? Don’t even go there. Well, not literally don’t go there, but if I visited them one-tenth as often as others, and spent a twentieth of the time I spend researching, talking, blogging, forum browsing, personally e-mailing, talking on the phone with my video business friends across the country, designing a new production demo DVD, sending out contracts, shooting, editing and producing video product...

...well, you know where I am headed with this. I have realized for quite some time that I am not maintaining a core element of my overall marketing approach - my web sites.

I am not cleaning up broken links, upgrading outdated clips, revising basic information, improving and enhancing aesthetics or developing smoother navigation aspects. If my current range of web sites is as confusing to my visitors as it has become to me, I am in deep...
...fill in the blank.

While I do not adhere to the philosophy of so many others where entertainment, cutesy graphics, page after page of smoothly introduced non-information, overwhelming rhetoric and teasers or philosophical poetic passages seems the focus, I do admit that I am not maintaining my site with dedication, much less vigor.

This is all soon to change, folks. In a few more weeks, between a relatively light first quarter 2009, a medium-heavy second quarter in progress, and an anticipated ALWAYS HEAVY third quarter summer production schedule headed up by graduation events, followed by summer youth sports, dance recital, martial arts events and more, I intend to upgrade my clips, make navigation of my various business web sites more user friendly, update my pricing and available services information, make everything tighter, more eye-pleasing and easy on the brain.

This, of course, must be done in conjunction with, and continuance of, all my other ongoing marketing efforts. The blog must roll. The Twitter and Facebook posts must continue. The direct mail campaigns must remain uppermost on my list. The new promo DVD (DVDs actually) must get done and get out. The phone calls to and from must continue, the e-mails answered and comments/questions sent or answered, and the contracts signed.

All this and more sums up a significant and successful marketing strategy. No one of the above, or any of the other possibilities I failed to mention, will keep you rolling along, keep the cash flow flowing in and of itself. You need it all. You need to find the time and dedication to do it all. And, most importantly, if you never spend a moment fretting over what it takes to get your search engine rankings above page 10, you absolutely must find and schedule the time to update, change, adjust, improve or simply remain familiar with your web site(s). Weekly, if possible.

If You Market, You Will Make It! © 2009 Earl Chessher

Not Every Company Knows Video

Take a look on YouTube. Do a search for just about any combination of business description you can think of and you will likely discover a bounty of examples to study. If you are an independent professional video services provider, and interested in trying something other than weddings for a change, a little research on the business uploads at YouTube, and other video sites as well, will encourage you to offer your services. Why? Because not every company knows video, or has employees who produce video as well as you.

The sound is often "boomy" or full of hollow, tinny output that makes listening to these messages a pain. Very few put much effort into sound isolation or control, opting for on-camera microphones in a room full of audio bouncing surfaces - no dampening. No close, direct, wireless or quality miking.

Lighting is all over the place. Colorization is all over the place. Visuals range from washed out to bloomed out, to darker than the backside of a lens cap.

Few get beyond the concept of center shots for that deer-in-the-headlights effect, paying little, if any, attention to the rule of thirds. Virtually none vary their shots, opting for one position.

The presenters often read, or do some seriously amateur extemporaneous speaking, with cutesy jokes, casting of the eyes and false-sounding inadequate attempts at sincerity.

It is difficult enough to take using sites like YouTube seriously as a vehicle for serious professional business promotion, what with all the amateur wannabe entertainers doing their thing. The baby, pet or odd creature flicks. Gads.

The irony is that YouTube, provided you know what to do to drive traffic to your videos there, provided you have a reasonable professional quality presentation with quality information that proves of interest to the market and demographic you want to reach, can be highly effective.

This is where hiring an independent professional video services provider to do the work comes in. This is where you come in. You know how to mic for quality audio. You know how to light to create a nice set. You know about trying to maintain a static background, minimize movement, use a tripod. And, you know how to create product that professional business clients can appreciate and will pay for.

If you are a dedicated video production professional, and you want to expand your business base, and you are not pursuing video services offering clean, quality audio and visual content to this market at a reasonable price - dear reader you are missing one heck of an opportunity to establish yourself as the "go to" video producer in your service area for a vastly under-served market.

Why? Because the "big guys" in video production are targeting the "big companies" while the people keeping America above water in these economic times - the small business owners - are in desperate need of your services at prices they can afford, so they can invest in areas of marketing they otherwise cannot reach. Or, they are so desperate to get into the YouTube arena they settle for poor video production and presentation that makes them come off anything BUT professional in their chosen field.

Coming soon - a complete business guide to marketing, producing and making a profit selling your services to small businesses. That and more, my friends. That and more.

If You Market, You Will Make It! © Earl Chessher

Montage Work Can Be Profitable

Somebody who likes doing photo montages and wants to develop this enjoyment into a business asked a few questions recently. Primarily, he wants to create "good" montages. He wants "advice" for creating them. And, he wants to create productions that cannot be reproduced. My response follows:

First of all with today's technology and the boatload of computer wizards "out there" it is highly unlikely that you can afford the really good copy protection services for the level of distribution montage work is going to generate. Notwithstanding the fact that even the really good copy protection stuff can be broken. Anything less, even the current level of DVD duplicators that offer some type of copy protection scheme, can easily be broken by even amateur hacks. So, get what value you can for your montage creations and don't sweat the copy protection - not worth the time, money or mental stress.

I produce an average of 300 or more montages a year. They are reasonably priced, and at a level where I usually get orders for up to 10 or 20 copies, depending on the event. In my case, mostly memorial montages for favored family pets as well as humans.

There are, IMHO, two ways to generate montages. Well, maybe three.

If you are pursuing this work as a creative labor of love, to enjoy and experience as an outlet for your inner artist, the "story teller" in you, to heck with the time it takes, and profit is of no interest or consequence, then by all means tell a story, use specific select transitions and none of "those crazy transitions" and put in hour-upon-hour of amazing editing skills and creative talent for something a few will appreciate, none would be willing to pay the actual costs of, and that will become obsolete as soon as the next upload to YouTube.

If you are seeking to establish branding for your productions, using special creative designs, massive Ken Burns style movements, ebb and flow story telling techniques that BUILD your production beyond standard production levels, even utilizing 3D elements with heavy Photoshop influence. If you eventually hope for this branding to establish you as the "go to" montage artist for high end, high dollar creations, and want nothing to do with the day-to-day needs of millions of people out there...

...well, that is certainly a commendable direction to take, and there are some who have successfully pursued that level, although the few of whom I am aware are still trying to figure out how to get paid for the time and effort required to create these productions. I personally am aware of ONE creative and highly skilled producer who puts up to 3 months of intensive labor - his and people he hires - to create outstanding song/topic based 3D visually magnificent montage productions and says he cannot hope to recoup the thousands of dollars invested in time, software (mostly the time) and people power to achieve this level of production quality. Almost the same as the paragraph above, huh?

If, as I have, you want to pursue this as a valid and viable money-making (dare I say profit generating?) business, a specialty if you will, then you need to find the blend of time invested, software needed, and production quality desired to get your production expenses to a level where you can establish prices that are affordable for the millions of people who might be willing to go to you for their montage work. There are a bunch of options out there, including the two web sites I mentioned in my previous response, for generating GREAT looking, entertaining and quality montage productions without having to invest into the rather esoteric, lofty approach as mentioned by numerous others (no offense intended those who differ). There is nothing inherently wrong with taking the high road, but there are certainly many starving artists over the years who discovered that the high road doesn't put beans on the table, a car in the garage, or a chicken in every pot.

My success with montage creation, marketing and sales is largely due to a VERY low (I would call it reasonable) price, with affordable copies, and packaged with high quality complimentary graphics for the DVD surface AND the full-color library case inserts.

I have honed my production time to a level where I can generate up to four of them in an 8-hour day, running anywhere from 8 minutes to 15 minutes (sometimes even longer for special personal productions for a family - converting a family heirloom album of old and antique images from family roots in Germany, England, etc.) The family heirloom, "storied" productions however, DO require much more work, bring in much more money, and call for things from special musical segments for certain groupings, to a LOT of Photoshop image touch up, enhancement or even repairs. That is a whole different creation than the day-to-day montages that keep my cash flow at a comfortable level. Back to the basic 4, perhaps as many as six, in an 8-hour day.

These are simple and straightforward, using photos that for the most part FILL the screen (it is the picture they want to see, enjoy and remember NOT the moving backgrounds, postage-stamp-sized images or flash past images that hardly stay on long enough to register in the mind of the viewer). I average up to 50 images per song. I average three songs per production. I offer an opening, and closing (same title) title. And I use virtually EVERY transition in the book, some I have created on my own and many others that are not as "crazy" to the client, as they might seem to be to the artistic video production purist.

SIDE NOTE: What I find curious and interesting, also sometimes a bit entertaining, is the parroting of some basic rules of video production and creation that students or others have heard in a stilted classroom far removed from production and business/marketing reality, or read in tomes written by long-ago semi-famous producers, etc. who expound on the need for little if any transitions, the use entirely of cuts, dissolves and the occasional white flash, and the "enhancement" of production value by adding those moving backgrounds, diminishing the size of the image of interest, etc. For one thing, sir, it is a MONTAGE, not a movie with dialog, action, movement of actors, and such (not often that is at the consumer level - Ken Burns and others notwithstanding). The purists are FLAT WRONG, sorry to say, when they expound against using a BUNCH of diverse, interesting, even sometimes TACKY transitions in basic consumer montage production work for hire.

OK, back to the lesson based on many years of experience specializing in what I call, but my associate HATES to hear, "down and dirty" montage production for profit.

1.) The average photo-montage clients are primarily interested in seeing their photos, nothing more, nothing less, and will complain often and loudly if you reduce the image in favor of the background, or take away from their perusal of the photo in favor of the many moving elements that actually distract the eye from its desired focus.

2.) The average PM clients are NOT willing to pay the equivalency of an arm and leg for massive retouch, image enhancement, color correction or image repair. They have had many of these photos for many years and drag them out of the box or album occasionally to view- so much so that even the wrinkles, fades, tears, water damage and more have added to the personality, if you will, of the images, further enhancing each photo's particular "story." Rare is the client who is both willing to pay for such service, and has expectations of seeing a pristine, perfect rendition of their photo as opposed to the actual photo they included in their project.

3.) The average PM clients LIKE, if not LOVE, a multitude of transitions. Granted there are some that are way too wild and wacky, especially if used repeatedly, but for the most part, use of as many as 40 differing transitions is totally acceptable. I use a blend of perhaps 25 percent dissolves, 10 percent cuts, 5 percent page-turns, with the rest being unique and specific either to the rhythm of the music, or a comedic photo with high humor value, etc. I use slower, smoother transitions for slower, easier music, and quicker, faster, abrupt even transitions for music with a steady or occasional fast pace or beat. Follow the rhythm with your transitions and virtually any and all of them will work, be appropriate, and LOVED by the client.

4.) Paying attention to the pacing and rhythm, keeping the photos the dominant image, using some hand-adjusted Ken Burns style movements where it fits, or for bringing in, up or onto screen larger images that have to pretty much be moved up, down or side-to-side to view it all at a size worth viewing, and smoothly going into or out of each song selection are the primary "secrets" to successful and a high perceived production quality of montage videos.

5.) Remember the packaging. Complimentary or customized art for the DVD surface AND the DVD case insert are important. Very important if you want to develop a solid duplication business without people simply copying their own (and they can, and do, and will - all of them...unless). Unless you give them a quality of product AND a professional quality of packaging they can easily or readily duplicate. My clients will often make copies of their own, but I have significantly increased my sales of copies, and reduced the number of pirated duplications simply by offering them a completed production they cannot replicate easily. I will often get orders for as many as 20 copies of memorial montages, milestone birthday montages, milestone anniversary montages, first born, etc. - at $25 per copy, for a job that might have taken me three hours tops to produce beginning to end, is lucrative.

If you figure out a way to quickly and easily develop basic montage productions, get the word out, make them affordable because you didn't HAVE to invest a huge amount of time and effort into their creation, and don't give in to thinking you HAVE to make every image look perfect (unless, of course you are being compensated for this), and develop a reputation for being what the marketing community says is impossible - able to do this fast, affordable and good (even GREAT), you would likely have ALL the business you could handle for the rest of your business life. It is said that a consumer can only have two of the three - fast, affordable and good, but you are in a position to deliver on all three, believe me.

One last comment, I promise! There are arguments that with the wide availability of do-it-yourself software, usually included free or somewhat, over the internet or with the computer they purchase, montage work is not desired, not profitable and consumers will not pay for something they can do themselves. Well, yes, and no. Many do not have the skills you do, or will develop over time. Many do not have the time, or desire to learn the program, simple as some of them are. Many will become frustrated somewhere along the way, and are so technologically challenged that they cannot figure out how to get their creations onto a DVD that will play properly on their players. Many cannot get past a silver recordable DVD with black marker title on its surface in a cheap, scratched up, clear plastic CD case.

There's a difference (or should be) in what you do and deliver, even if it is "down and dirty" and what the average consumer is capable of doing. Go for it!

Remember: If You Market, You Will Make It! © Earl Chessher

Martial Arts Video = Easy Sell

Less than 30 days ago I mailed out 30 cover letters accompanied with a very short demo DVD of martial arts footage. You can view a portion of that footage by clicking on the title of this article above. I have signed up four of these, and have inquiries from several others, for end-of-summer demonstration, graduation and/or awards presentation ceremonies.

I have one local Master instructor who is also "very interested" in discussing a series of instructional video for counter sales as well as portions to include on an upcoming web site.

An exact copy of the letter I sent follows, with some notations in parentheses:
Dear (important that you know and use the person's name here)
I am an experienced student of the late Master John Chu, a well-known and respected teacher in West Texas, and am experienced in producing video of martial arts demonstrations and related ceremonies. (I felt it would not hurt to mention this affiliation, but I will leave it out in my next batch to see what happens)

Please take a moment to view the enclosed DVD and, visit my web site listed in the letterhead.

I am a local independent professional video services provider (I like the sound of this as opposed to "videographer") and specialize in youth and adult sports and event video production in this region. I provide quality, affordable video production, graphics development, duplication and distribution services.

I offer an introduction to my services in two ways: direct to individual members, family and friends; direct payment from you, or your business, based on the same minimum total, and you can sell the copies for whatever price you want. The most popular approach by far, in my 20-year production (if you've got the experience, say so) experience has been direct sales to parents.

The introductory rate is a minimum of 20 DVDs sold at $25 each, (that's MY price, your mileage may vary, and you can certainly try for larger numbers both ways) delivered to your location for distribution. An order list is provided, as are forms for pre-sales and promotion.

Call today to schedule your production. I am a full time business and consistently receive calls and inquiries for dates. Please contact me today to lock in your date(s), or to discuss your needs and interests.

Thank you for your consideration, and I look forward to working with you and your students and families soon.

With respect,
Earl Chessher

What I do
The sample clip link shows a single aspect of my coverage using two cameras and operators at varying POVs (points of view) ranging from wide-to-medium, and medium-to-close. I will occasionally frame tighter for special situations, but not often.

Whenever possible my associate and I shoot stereo, with our cameras side-by-side from center. My next favorite position is to left and right of center seat section, and we will often shoot across each other. Left camera will shoot right stage, right camera left stage, with one camera assigned for medium or wider shots, and the other medium or tighter. This gives me variation in post so that I don't have to deal with a lot of jump cut looking shots or off-center dissolves.

My audio acquisition
If you have read any of my previous articles on shooting you know I avoid using any type of "house sound" from any venue or location. I am no longer willing to accept the potentially negative consequences ranging from no audio, to bad feeds, to operator (the sound person) errors, to outright damage to my cameras' audio circuits due to overload. If I am going to "ride" the audio, I prefer to ride my own controls and not depend on the many self-professed "professionals" running the boards.

Over the past year I have taken to using Zoom H2 recorders, placing them where I need or want them for the audio reinforcement I desire. I continue to acquire audio from the on-camera microphones as well. I mix these units as necessary to achieve the audio levels and sound quality I desire in final production.

Product presentation is important
I believe in delivering a quality production, both in looks and content. I will not cut corners, using clear cases without full color inserts and printing only the DVD surface to save on ink, paper, etc.

I do like and use, and have found that my clients also like, the readily available ultra-clear thinline or ultrathin DVD cases, but always create the graphics for developing a nice, professional looking cover insert that compliments the graphics on the DVD surface.

I use boxes, bags and sacks that have my company name imprinted. I enclose additional business cards, information sheets regarding price and other events, a few general sample demo DVDs, and I ALWAYS comp the Master or owner a DVD of the production.

Final comments
For the most part I find that people running martial arts schools are heavily focused on respect, and I try to convey a sense of respect when I talk to them, regardless of the situation, or occasional misunderstandings.

For example, instead of getting mad, upset and blowing off at an instructor/owner I recently produced video for, whose check was returned insufficient funds, I took a minute to focus and calm myself down, made the call, and joking said, "You're human! Just like me!" That lightened the mood immediately as I went on to tell him I know all about cash flow and getting caught between deposits and outstanding checks, simply asking him how soon he could cut me another, or could I run this one through again.

To this day he keeps commenting on my approach, and how much he appreciated that I actually did understand, and was so polite and professional about letting him know. "People tend to over-react from embarrassment and things can get heated with the combination of emotions that come into play," he said. "Your approach falls in line with the element of respect I try to instill in my students toward others, regardless of the situation or circumstances."

Finally, if you have ANY experience with run-and-gun style shooting, varying your shots for interesting angles or frames, and utilizing two cameras to reduce the re-takes, you can get this business. Granted, there would need to be a few martial arts schools in your service area. You can add montage work, and individual show case, and technique study videos to the list of potential sales at martial arts schools as well.

Remember: If you market, you will make it! © Earl Chessher

Market! Do it NOW!

Ok, a lot of us are just getting into this business, while others are doing "fair-to-middlin" and the vast majority are grumbling on forums, in coffee shops and via e-mails to others in the business that business is down, getting bad, dying out, sucks. They don't call, they don't write...

Essentially those who market make it, those who don't? Well, they gripe, complain, moan and groan and lament that nobody seems able to find their web site, phone number, e-mail address or front door these days. Even back in my early days in retail merchandising - the pre-WalMart stores like WT Grants, FedMart, Woolco, etc. the philosophy was: "Having a bad week in sales? Work more hours, make more money," or "Having a great week in sales? Work more hours, make MORE money."

The same applied to low store traffic: "Not too many coming in, we'd better advertise more," or "We're having huge traffic, let's advertise MORE!" Get the concept?

It is also a known fact that while marketing is important year round, in lean, mean or great times, it is even MORE important during times like the current national and world wide economic situation. Ironically this is when many of us cut back on our marketing - marketing budgets, insurance and subscriptions to associations, organizations and magazines are the first areas to cut back. This, when you need to be doing it the most. Marketing works folks, no doubt about it.

DO THIS NOW!
Don't put off pushing for eyeballs at your web site because it needs updating and doesn't look just right or whatever. If you have not updated or improved your web site presence in the past 90 days you're not going to do it today either. But, you CAN dust off those direct mailing pieces, fliers or even the old promotional post cards and send out a few, inviting people to visit your web site TODAY!

Join the social networks such as twitter and facebook, digg or mixx, and a host of other sites that usually cost you little more than a few minutes time. Get the word out that way as well, virtually cost free. Let people know you are available, that you offer valid products and services in which they might be interested.

Hand deliver some of those demo DVDs you need, or want, to update, or have been planning to update but simply have not had the time while you're so busy worrying about not having any business. Sure, you'd like them to look better, be more current, offer different products, etc., but hey, you made that demo and it worked for awhile, but now it doesn't. Why? Because you cut back on distribution until you get around to making a better one. Just do it! Do it now! Get those demos out where they can do you some good.

Hand them out at community events. Take them to the bounty of ball parks and public parks where youth sports teams meet to practice, play and scrape their knees almost on a daily basis. Don't have content that reflects this? How much time does it take to capture a few practice sessions somewhere, put a few still shots with it and generate a music montage action demo for sports? You can do this in less than eight hours. Start now and your new demo will be ready for the weekend.

We all spend an exorbitant amount of time worrying and doing nothing about it when all we have to do is get up, get out and get going. Dust off your demo DVDs today, your direct mail pieces, make a few calls, write a few letters, approach a few area bridal shops, boutiques or tux rental shops, and press the flesh, smile a lot and hand out your paraphernalia.

If you market, you will make it! © Earl Chessher, 1990-2009

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!