There is money to be made, and business galore in school band, and other events, production services. I know a lot of video producers are going after this market, and aggressively, but that doesn’t mean you can’t carve out a piece for yourself.
Before I get to the elements of what has worked for me in this market, I want to say a few things about what you will be facing - primarily “The Competition.” Believe me, it’s out there, and if you don’t have enough gumption to take on your competition toe-to-toe, you will be wishing you could get into school band and event business for the rest of your independent business career.
Get a jump on the competition and have activity directors, event sponsors, coaches and band directors swinging the doors open wide for your unique, affordable and quality video production services. Every day creates a new opportunity for squeezing through doors that once appeared closed to your knocks. Be persistent. If you simply give up and go away, they will forget you - just at the moment when a reminder might have come at the right time.
I have to go again with my way of doing this, using simplicity, economy of effort and affordability. There are certainly more complex and profit generating ways to approach school event, band and sports productions, but you can earn appreciation, loyalty and money by making things easy for your clients, and for yourself.
Later in this article I will give you a link to reasonably priced materials, resources and information from one of the most successful event production professionals I know. But first I will share my way, using simplicity, economy of effort and affordability.
I have had the pleasure of producing flag drill competitions, cheer leading competitions, football games, homecoming week events, marching band, school orchestra and swing band events, choral presentations and more just by simplifying the production, sales and delivery process.
There are many in our services community who ask for, and receive top dollar for high perceived quality of service and productions. They may, or not, have little competition, great client loyalty and enjoy an ongoing seasonal connection with their area schools. This has a lot to do not only with loyalty from the band director, coach or activities director, even leaders of the various support groups behind funding and activities for all these school events, but with the persistence of quality, or not, by their video services provider.
I have to tell you that loyalty does not count in the reality of this business. You might even thing that is BS, and have apparent client loyalty in some respect, but do not trip, or become overconfident because there’s always someone waiting and watching.
It is my experience that all but the most firmly entrenched area school events video service providers can be dislodged from their comfort zones. How is that? Because after a couple of years working for a group, independent professional video service providers tend to become complacent, or downright lazy, even too greedy, reducing the initial personal service, fast turnarounds and bumping up prices year after year. These people, I am sorry to say, are ripe for knocking out of the equation.
A bad attitude to have about your fellow video producer, right? Well, not really. I mean this is a competitive, aggressive (if you want to survive) and dynamic business environment. All business is this way. The strong survive by being aggressive: there are ethical and non-ethical ways of doing this.
Some focus on cutting the competition off at the knees by any hook or crook. Others actually do the same thing, but maybe sleep a bit better at night, because they perform cutthroat operations via pricing, quality service and products, strong marketing skills and developing inside connections.
It is one thing to say negative things about your competition in an effort to denigrate them, tell stories that may, or not, be absolutely true, or even do work for another production company as its representative, then operating from your new “prospective” client list, go behind your former resource’s back in an attempt to “steal” from their client list.
Whatever it takes, is not always a valid response. But, if you do have a quality product, if you do have the tools and experience for creating these videos, if you can provide reasonably fast turnaround (even instant gratification, using the Bob Anderson approach - link coming up soon), if you are attentive to your current, and new, or prospective clients, listen to their needs, their complaints, often put up with a bit of their BS, then you have the right to do “whatever it takes” to gain that business.
I have won, and lost, serious band production business simply because of massive equipment failure. Although I managed to generate an “acceptable” product, delivered the number of ordered copies at “no charge” wrote apology letters to each and every parent/student, and let the band department keep the proceeds, they went with someone else the next season.
Another producer was on the spot, making promises and guarantees based on what I failed to deliver, based on my bad luck, and talked my clients away. It happens. More power to him.
Two years later I asked the same band director for another shot, saying I was willing to shoot the event for free, if he was not obligated by contract to restrict access, and provide him with a fully produced copy. I told him I was willing to put my production up against the competitions, and if the director thought mine was better quality, I’d provide copies for all customers purchasing the other guy’s video, at no charge. His people were going to get “twofers!”
I got the go, took second choice positions (only fair to the other guy) and we stopped paying attention to them and started doing our own thing. Maybe I shook up the competition. Sorry, I was willing to commit in order to make a comeback, and if he couldn’t stand the heat. The band director made his choice, subjective I am sure, but it was for me. Two years after catching me in a bad set of circumstances, I returned the favor and got my client back.
GETTING THE BUSINESS
Ok, how do you get in those doors in the first place. If you have read any of my other articles you know how strongly I believe in direct mail marketing, aggressive followup strategies, and maintaining connections.
Getting area school band business is no different. I do my research and get current names, correct addresses and phone numbers. In Southern California it is as simple as doing a Google search - most schools and districts in my service area now have web sites, and if not, there are a number of general listings compiled by others who make this information available on the web.
You should be able to do the same thing no matter where you live and operate your video business.
After I do my research, make calls to the school office to verify the name, and spelling, of the people I want to contact - the band director, activities director and booster club president, if possible. I prepare my letter - one page, to the point. I also have, or can develop, any number of sample DVDs representing some or all of the school events my company has produced over the years. I am in the process of creating a fresh, new sample now, portions soon to be posted on my web sites. All that is currently a work in progress, targeting completion during January 2009.
THE MARKET LETTER
Dear (name goes here)
Have your next (name of school band performance) professionally videotaped, edited and produced with current digital technology, delivered in less than four weeks, at NO CHARGE to your school or booster club.
My company has more than 15 year’s experience in producing high school events. See the enclosed sample DVD, and go the chapter on (marching, orchestra, ensemble band, drum corp) productions. I am willing to give you a get acquainted opportunity that will create a win-win situation. You, your school, your band students and their parents and friends will receive a professionally packaged and produced performance production and pay not one dime for its production.
How?
Our regular production agreement for a band performance or event of up to two hours is that presales are held, offering copies of this professionally produced keepsake at $25. The regular production agreement only requires a minimum of 20 sales to guarantee production and delivery of the product. We can certainly deliver more, but they only have to presale 20 to get the production.
As a “Get Acquainted” special, my company will provide the same services and no minimum. Yes, invite us to attend and we will videotape, edit and produce your band performance of up to two hours, resulting in a DVD of two hours or less. We will do this if we sell one, none or a hundred. There will be no further obligation.
Give me a call, or e-mail today to arrange for this special get acquainted offer. Even if you currently have a qualified video services provider, you deserve an affordable opportunity to discover the alternatives.
Call today!
We would LOVE to work with you!
Regards,
NAME GOES HERE
You might want to make a different approach, but I have to tell you that in my service area this letter has generated virtually 99 percent response. We win a few, lose a few, and nearly always hear from them all sooner or later.
Wby?
Because I follow up with another letter(s), email(s) and phone calls a few times each school year. I research and keep my contact list of names current and accurate. I remain aggressive, and whenever I create a new DVD, I start the process all over again for new school bands, and those who have not taken advantage of the offer. YET!
PRODUCING THE VIDEO
Always two cameras and two operators, be it marching band, or other orchestra or band event. Always. We arrange to shoot live performances of dress rehearsals when held, giving us an opportunity to freely move about the various routines, getting close up shots, and unique perspectives not always possible during competition or half-time performances.
We set up two cameras on tripod, sometimes with the closer unit hand-held for other unique POVs. The other camera is usually always either on the director’s platform, or a good placement in the bleachers. We alternate angles and shots with the closer camera doing closeups and medium shots, the distant camera shooting wide and medium. Both follow the action.
Halftime performances are almost always shot with one camera in the stands and the other on the director’s platform. I have a video shooter’s ladder I use in cases where I can be along the sideline, but cannot access the platform.
We use the wide-to-medium shots from the stands as our base, and cut the secondary camera closeups, etc. into the mix. I place several Zoom H2 recorders where I think they will best provide backup auxiliary audio. I haven’t always done this, and I don’t always use these recordings, going instead with audio collected through the on-camera mics. Whatever it takes to get the best depth of audio, and control crowd noise/ambient if any, sound.
The DVDs are packaged in clear plastic library cases with custom color graphic inserts, DVDs printed with same, and contain chaptered (where needed) selections of the performance(s).
We almost always deliver in four weeks or less.
Bob Anderson, on the other hand, offers not only finished full productions at a premium price, but individual performance DVDs on location during a highly involved production process that he has honed to a fine edge.
Get the best information possible on how to increase sales by offering more complext productions and instant onsite sales by going to http://www.videouniversity.com/eventvid.shtml Start a More Profitable Event Video Business Today - Oak Tree Press, $77.00 plus $4.50 S&H.
Saturday, November 22, 2008
Monday, November 17, 2008
Dance Recital Video Production
Dance Recitals - you’ve heard of them. You have even perhaps produced one, or tried to, and were not all that pleased with the outcome. Money can absolutely be made videotaping and producing dance recitals but the financial success, or lack of it, has as much to do with your expectations as it does with those of the school, its owners/instructors, the students and their parents, friends and relatives.
My approach to production of dance recital video is based on simplicity and economy of effort, as well as affordability for the clients. My approach to marketing this vast community of video potential is the same: simplicity, economy of effort and affordability.
Though I have not had extreme levels of expectation income wise, not one of my experiences has been an economic disappointment. I am sure this hinges primarily on my personal expectations.
What do I mean by simplicity, economy, affordability?
I mean that you can market to and gain a multitude of gigs from this wide open aspect of the Independent Professional Video Services Provider potential. It might seem so at first glance, but the dance recital market is not as saturated as is the wedding market - at least the 22 percent wedge of wedding video pie everyone with a camera is fighting over.
I will soon focus on what needs to be done to carve out a serious wedge of the remaining 80+ percent of the wedding video market nobody wants to go after. But for now...
...dance recital video for fun, profits and referrals.
My quandary in the telling is this: Do I first tell you how to get some, more or virtually all of this business in your service area; or, do I first tell you how I approach these productions technically? I think, to justify my marketing approach I must first tell you how I shoot, edit and produce the productions. And, perhaps why.
It has been my experience and I feel obligated to first point out that the first and foremost person you will have to convince, and please, is the dance instructor. The omnipotent and all-knowing choreographer who is immensely proud of his/her stage designs, blocking and movements, and who expects a wide enough angle on the video to show stage impact- lighting and special effects, backgrounds, group and individual movements head-to-foot.
If you so much as leave more than a few seconds of the feet out of your coverage you will not be asked to return, no matter the artistic flair, timely delivery or cheapness of your services and per DVD sales price.
Trust me on this.
Initially I got past this expectation of the choreographers by doing two things: One, we always shoot a minimum (and usually only) two cameras, stereo (meaning side-by-side) with two operators. One operator shoots primarily full stage, or at least shoots and follows head-to-foot of the solos or smaller ensembles, using solid lead framing, and never (as much as is possible without attending a rehearsal and becoming familiar with the numbers) allowing the dancer(s) to leap or move out of frame. Trust me, even if you are familiar with the production you will occasionally be caught by surprise.
Some of these dancers can sunfish faster than a rodeo bull, reversing direction 180 degrees, and leaping out of frame in a split second of movement. Oops.
The other camera keeps full frame, but with the occasional CU or ECU (close up, or extreme close up) follow shot of full cast, ensemble or solo performances. These movements are smooth and steady, moving from either left to right, or right to left, or both in a double sweep, before pulling back out to a full frame shot - usually a medium shot unless the cast is spread all over the stage or even the floor directly in front of the stage.
Two: Doing this, we are able to offer the dance instructor/owner/choreographer a “full stage cut” that provides that person with the visual perspective they want for study, fine tuning, and later critique for the students. I still offer this, but we have simplified our shooting to the point now that 90 percent of the follow camera footage is utilized, only reverting to the full stage “save” shot when absolutely necessary, or to enhance the perceived production quality of two-camera coverage.
Over the years our dance instructors/choreographers have become comfortable with our shooting and editing techniques and have not requested or demanded the raw, basic-cuts full stage shot. It is there when needed, though.
This has provided us time and again with a means for satisfying not only the teacher, but the parents, and students to a degree (those less technically inclined than their choreographer), who want to see a few close up shots of the action. Yeah, the solos and small ensembles are easiest, but other than the wide establishing shot of the opening, special standout performers in the larger casts, and the often dramatic close and pose-on-the-beat at the end, some tighter angles and sweeps during each performance usually become welcomed and accepted by all.
I never adjust the gain. I lock and load on very little or no gain (we still use Canon XL1 and GL2 models), often use the spotlight settings, and do not attempt to compensate during or in post, for extremely dark, dramatic or high red spot/background productions. Our cameras come close enough to providing an acceptable image quality that is close, if not always spot on, to what the stage lighting and mood truly was.
I also rarely shoot for audio from the boards, or place microphones focused on the “sweet spot” from the speakers. I do use auxiliary and backup audio acquisition, but mostly for another “save” element if needed in post. I have lately changed this approach somewhat.
I continue to use the on-camera mics for audio acquisition - most auditorium and stage environments offer excellent acoustics, and the volume is certainly usually adequate for all but the inevitable narratives.
In addition I have now added four (and eventually, possibly more) Zoom H2 digital recorders, usually placing two in some perspective on the house speaker “sweet spots”; one near front center stage, and the other side-by-side with the front center stage Zoom, but using both sides, and lowering the recording levels to use for ambient sound, spoken narrative from on-stage, and the applause, cheers, and whistles that emit from the audience.
Audio is where I do most of my post production work, sweetening and adjusting levels to give balance to the whole production. This approach has earned many positive comments from the clients (teachers, students and parents) who have long since accepted, supported and voiced their appreciation for how we cover the visuals.
I don’t do “house sound” ever! Anywhere! The professionals jack around with their boards too much, and the amateurs or those “professionals” without a lot of experience (tongue-in-cheek comment intended) forget, overcompensate or overload at the the wrong moments, often sitting back to text message on their cell phones and not riding the levels as any conscientious audio person would do - paying strict attention to the levels from the stage.
I have replaced no less than three times the audio circuits in our two XL1 Canons due to depending on preset and pretested board levels prior to production, only to have everything go to hell in a hand basket once the show gets under way.
A two-hour show takes four hours or less of our acquisition time due to the simple, cable free, set up of camcorders and the Zoom H2 recorders which are usually preset for direction and levels desired.
Currently, before we head into solid state recording high definition tools next year, it takes less than three hours to ingest (digitize) the footage and assess the audio sweetening needs. Then, perhaps a couple hours to ingest audio from the Zoom H2s, and sync the audio, layer the levels, etc.
Another three, maybe four hours to essentially “clean up” edit the footage, create opening/closing titles and credits, and set up the DVD for chapters and burn the master. Having a DVD duplicator tower with a hard drive helps speed up the duplication process. In fifteen hours or less I have usually videotaped, edited, produced, generated graphics and mass duplicated my dance recital. And in every instance I have made more on an income-per-hour basis than my highest paying wedding gig ever.
Simple approach to production, right? Now for marketing. Keeping with the simplicity, economy of effort and affordability concept, I start off with simplicity of expectations - mine. I expect every dance studio, high school dance class or community dance venue to accept my initial “get acquainted” offer. I do not expect to get rich and retire on the next new dance recital gig. I do expect positive growth in sales and continued loyalty through the years a venue is on board.
I direct mail a one-page letter, including a sample production DVD of snippets and perhaps a full number or two from past productions. The letter offers, at no risk to school, owner or board of directors, full professional coverage as reflected in the sample DVD, with two cameras and two operators for performances of two hours or less, and professionally edited and produced DVD for the “get acquainted” price of 20 copies at $25.
Buy the service outright by ordering and paying for all 20. Pay for them from a video production budget, if any. Or sell direct to parents, collecting the money and presenting us with individual checks or a single check for the minimum production agreement (the minimum presented upon our arrival to shoot), and we will deliver quality DVDs with custom graphics, and plastic library cases with custom color inserts within four weeks.
We have never sold less than double the minimum with only one exception, and that dance school only usually has about fifteen students, but purchases 20 copies without hesitation. It is a small organization located in a very low income area. Most of its students are admitted by the instructor free of charge, or even subsidized by the owner/instructor for costumes, etc., who is in the business more as a labor of love than a for profit commercial enterprise.
We have, over the years, sent out at least 400 direct mail pieces such as described above. We have a response level of 375. Many are still with us, and have been for more than ten years. Others come and go, depending on the fluctuation of the economy. Several have left to allow a volunteer parent to flex their production wings, only to return the next year begging us, virtually at any price, to forgive and return.
On average, our dance recitals sell 75 units at $35 each. We also get other gigs, individual jobs and side-productions, personal editing for individual show-and-tell students who seek to ad some of our footage to their video resumes, and more. We have recitals selling well over 400 units, and a couple that hit the 500+ mark.
Very few of the really large operations leave us. They are pleased with the production levels, with the packaging and delivery, and with the professional quality of our interactions, as well as the occasional production meetings we attend at their request. Some of them react and respond positively to our suggestions regarding a compromise on video related issues such as audio quality and levels, lighting (those horrible reds) and a time or two even venues for their annual productions.
There are a lot of other ways to approach this market, and the production thereof, but by focusing on simplicity, economy of effort and affordability, you can acquire a lot of this kind of business available in your service area demographic.
My approach to production of dance recital video is based on simplicity and economy of effort, as well as affordability for the clients. My approach to marketing this vast community of video potential is the same: simplicity, economy of effort and affordability.
Though I have not had extreme levels of expectation income wise, not one of my experiences has been an economic disappointment. I am sure this hinges primarily on my personal expectations.
What do I mean by simplicity, economy, affordability?
I mean that you can market to and gain a multitude of gigs from this wide open aspect of the Independent Professional Video Services Provider potential. It might seem so at first glance, but the dance recital market is not as saturated as is the wedding market - at least the 22 percent wedge of wedding video pie everyone with a camera is fighting over.
I will soon focus on what needs to be done to carve out a serious wedge of the remaining 80+ percent of the wedding video market nobody wants to go after. But for now...
...dance recital video for fun, profits and referrals.
My quandary in the telling is this: Do I first tell you how to get some, more or virtually all of this business in your service area; or, do I first tell you how I approach these productions technically? I think, to justify my marketing approach I must first tell you how I shoot, edit and produce the productions. And, perhaps why.
It has been my experience and I feel obligated to first point out that the first and foremost person you will have to convince, and please, is the dance instructor. The omnipotent and all-knowing choreographer who is immensely proud of his/her stage designs, blocking and movements, and who expects a wide enough angle on the video to show stage impact- lighting and special effects, backgrounds, group and individual movements head-to-foot.
If you so much as leave more than a few seconds of the feet out of your coverage you will not be asked to return, no matter the artistic flair, timely delivery or cheapness of your services and per DVD sales price.
Trust me on this.
Initially I got past this expectation of the choreographers by doing two things: One, we always shoot a minimum (and usually only) two cameras, stereo (meaning side-by-side) with two operators. One operator shoots primarily full stage, or at least shoots and follows head-to-foot of the solos or smaller ensembles, using solid lead framing, and never (as much as is possible without attending a rehearsal and becoming familiar with the numbers) allowing the dancer(s) to leap or move out of frame. Trust me, even if you are familiar with the production you will occasionally be caught by surprise.
Some of these dancers can sunfish faster than a rodeo bull, reversing direction 180 degrees, and leaping out of frame in a split second of movement. Oops.
The other camera keeps full frame, but with the occasional CU or ECU (close up, or extreme close up) follow shot of full cast, ensemble or solo performances. These movements are smooth and steady, moving from either left to right, or right to left, or both in a double sweep, before pulling back out to a full frame shot - usually a medium shot unless the cast is spread all over the stage or even the floor directly in front of the stage.
Two: Doing this, we are able to offer the dance instructor/owner/choreographer a “full stage cut” that provides that person with the visual perspective they want for study, fine tuning, and later critique for the students. I still offer this, but we have simplified our shooting to the point now that 90 percent of the follow camera footage is utilized, only reverting to the full stage “save” shot when absolutely necessary, or to enhance the perceived production quality of two-camera coverage.
Over the years our dance instructors/choreographers have become comfortable with our shooting and editing techniques and have not requested or demanded the raw, basic-cuts full stage shot. It is there when needed, though.
This has provided us time and again with a means for satisfying not only the teacher, but the parents, and students to a degree (those less technically inclined than their choreographer), who want to see a few close up shots of the action. Yeah, the solos and small ensembles are easiest, but other than the wide establishing shot of the opening, special standout performers in the larger casts, and the often dramatic close and pose-on-the-beat at the end, some tighter angles and sweeps during each performance usually become welcomed and accepted by all.
I never adjust the gain. I lock and load on very little or no gain (we still use Canon XL1 and GL2 models), often use the spotlight settings, and do not attempt to compensate during or in post, for extremely dark, dramatic or high red spot/background productions. Our cameras come close enough to providing an acceptable image quality that is close, if not always spot on, to what the stage lighting and mood truly was.
I also rarely shoot for audio from the boards, or place microphones focused on the “sweet spot” from the speakers. I do use auxiliary and backup audio acquisition, but mostly for another “save” element if needed in post. I have lately changed this approach somewhat.
I continue to use the on-camera mics for audio acquisition - most auditorium and stage environments offer excellent acoustics, and the volume is certainly usually adequate for all but the inevitable narratives.
In addition I have now added four (and eventually, possibly more) Zoom H2 digital recorders, usually placing two in some perspective on the house speaker “sweet spots”; one near front center stage, and the other side-by-side with the front center stage Zoom, but using both sides, and lowering the recording levels to use for ambient sound, spoken narrative from on-stage, and the applause, cheers, and whistles that emit from the audience.
Audio is where I do most of my post production work, sweetening and adjusting levels to give balance to the whole production. This approach has earned many positive comments from the clients (teachers, students and parents) who have long since accepted, supported and voiced their appreciation for how we cover the visuals.
I don’t do “house sound” ever! Anywhere! The professionals jack around with their boards too much, and the amateurs or those “professionals” without a lot of experience (tongue-in-cheek comment intended) forget, overcompensate or overload at the the wrong moments, often sitting back to text message on their cell phones and not riding the levels as any conscientious audio person would do - paying strict attention to the levels from the stage.
I have replaced no less than three times the audio circuits in our two XL1 Canons due to depending on preset and pretested board levels prior to production, only to have everything go to hell in a hand basket once the show gets under way.
A two-hour show takes four hours or less of our acquisition time due to the simple, cable free, set up of camcorders and the Zoom H2 recorders which are usually preset for direction and levels desired.
Currently, before we head into solid state recording high definition tools next year, it takes less than three hours to ingest (digitize) the footage and assess the audio sweetening needs. Then, perhaps a couple hours to ingest audio from the Zoom H2s, and sync the audio, layer the levels, etc.
Another three, maybe four hours to essentially “clean up” edit the footage, create opening/closing titles and credits, and set up the DVD for chapters and burn the master. Having a DVD duplicator tower with a hard drive helps speed up the duplication process. In fifteen hours or less I have usually videotaped, edited, produced, generated graphics and mass duplicated my dance recital. And in every instance I have made more on an income-per-hour basis than my highest paying wedding gig ever.
Simple approach to production, right? Now for marketing. Keeping with the simplicity, economy of effort and affordability concept, I start off with simplicity of expectations - mine. I expect every dance studio, high school dance class or community dance venue to accept my initial “get acquainted” offer. I do not expect to get rich and retire on the next new dance recital gig. I do expect positive growth in sales and continued loyalty through the years a venue is on board.
I direct mail a one-page letter, including a sample production DVD of snippets and perhaps a full number or two from past productions. The letter offers, at no risk to school, owner or board of directors, full professional coverage as reflected in the sample DVD, with two cameras and two operators for performances of two hours or less, and professionally edited and produced DVD for the “get acquainted” price of 20 copies at $25.
Buy the service outright by ordering and paying for all 20. Pay for them from a video production budget, if any. Or sell direct to parents, collecting the money and presenting us with individual checks or a single check for the minimum production agreement (the minimum presented upon our arrival to shoot), and we will deliver quality DVDs with custom graphics, and plastic library cases with custom color inserts within four weeks.
We have never sold less than double the minimum with only one exception, and that dance school only usually has about fifteen students, but purchases 20 copies without hesitation. It is a small organization located in a very low income area. Most of its students are admitted by the instructor free of charge, or even subsidized by the owner/instructor for costumes, etc., who is in the business more as a labor of love than a for profit commercial enterprise.
We have, over the years, sent out at least 400 direct mail pieces such as described above. We have a response level of 375. Many are still with us, and have been for more than ten years. Others come and go, depending on the fluctuation of the economy. Several have left to allow a volunteer parent to flex their production wings, only to return the next year begging us, virtually at any price, to forgive and return.
On average, our dance recitals sell 75 units at $35 each. We also get other gigs, individual jobs and side-productions, personal editing for individual show-and-tell students who seek to ad some of our footage to their video resumes, and more. We have recitals selling well over 400 units, and a couple that hit the 500+ mark.
Very few of the really large operations leave us. They are pleased with the production levels, with the packaging and delivery, and with the professional quality of our interactions, as well as the occasional production meetings we attend at their request. Some of them react and respond positively to our suggestions regarding a compromise on video related issues such as audio quality and levels, lighting (those horrible reds) and a time or two even venues for their annual productions.
There are a lot of other ways to approach this market, and the production thereof, but by focusing on simplicity, economy of effort and affordability, you can acquire a lot of this kind of business available in your service area demographic.
Saturday, November 08, 2008
Direct Mail Does Pay Off
Direct mail isn’t for everyone in the independent video production business, but it can pay off if you use a bit of logic about what you send out, and to whom. Obviously, if you live in a town where the sign posted as you enter says “Anytown, U.S.A. pop. 52 and a dog” then door-to-door might be a better approach.
For virtually everyone else there’s a cover letter, demo DVD and a stamp for an envelope that has your next client’s name and address on it. The general conception that thousands of pieces have to be mailed out at high cost for postage, purchase of an expensive “iffy” mailing list and a huge investment of time and effort in order to get them out and expect any positive response is simply wrong.
Some direct mail strategies argue that the more specific your target, and the more pieces you send out to demographics reflecting that target - be it income, higher property values, or geographical bracket - the more likely you are to hit that magical one percent return. This also simply is not so. You do not have to settle for a one percent return on 10, 100 or thousands of mailings. You can actually achieve 10 percent return, or better, responses, and a minimum of 30 percent sales from that. How?
By broadening your area of coverage, widening your base of operations and expanding your range of services. If you do more kinds of productions then you can market more of your services to a more general audience and expect a higher rate of response, more sales. For me a shotgun approach - either sending out a lot of pieces to the same interest groups (dance or martial arts schools, for example), or sending out fewer pieces to a more general demographic (individual householdds) - is very effective.
I realize this has a lot to do with the fact that I live and work in a very densely populated area (Southern Califoria) with a broad range of ethnic groups, interests, income levels and life styles. But living elsewhere doesn’t mean you cannot reach the people in your service area though it might be less dense, diverse and mostly poorer households.
Here’s that word I keep pounding on: “Diversification” of your video services. Stop thinking all you can do, have to do, should do or want to do is weddings. Unless, of course, you actually WANT to do weddings and nothing but. If you are a full time independent professional video services provider, or a part time IPVSP working full time hours in the business, you can make more money if you produce more than weddings.
In fact virtually every other video production gig available to you will generate higher income on a per hour worked basis than any wedding you have ever done, or ever will do. I will leave it at that, because this is a fine subject for an article all its own. Later.
Simply being willing to do other video production work puts you at an advantage, not only to acquire more business and generate more income, but an advantage as well in marketing your services by direct mail. I am currently developing a demo DVD that will contain a highly energetic intro with scenes from all the various celebrations of life I’ve produced. It will be brightly colored and printed on it in bold, black letters will be “Celebrate Life!”
In addition to the energetic intro I will have sample clips from each and every category of video production I have ever done. In my case that is going to be a bunch! But you can start something similar and ad to it as you produce other events, community programs, youth sports contests, school performances and activities, birthday, anniversary and milestone events celebrations, etc.
This new demo DVD will be chaptered for, and include an insert, to show the clips and categories featured, offering any recipients the option to view only what interests them at the moment. My slogan for this marketing tool is “Somebody somewhere celebrates something every day!” © Earl Chessher, 1995-2008. Celebrate Life! has been taken, but there’s nothing to prevent me from using that as the promotional title for my direct mail DVD.
Based on my “Somebody somewhere...” approach, this makes every household in the U.S.A. a “good and viable” target address for a direct mail campaign. I have not limited my chances for success by sending out only a wedding demo, or only a montage demo, or only a small business/services demo, commercial video, birthday demo, dance demo...
...get the idea? Somebody at that address is celebrating something the day, or week, or month they receive my direct mail cover letter and demo/sample DVD.
So, by not limiting the video service categories I am willing to provide, broadening my range, I am increasing the probability of a positive response that will take my returns to much higher levels. Even if you only had four categories including weddings, you have quadrupled the possibilities of someone at that residence being interested, or knowing somewho who would.
There is a high level of perceived value when a person receives a special DVD (in spite of AOL’s pervasive disk distribution campaign - notice they’ve discontinued that approach) and he or she will check it out instead of arbitrarily tossing it into the trash. The recipient will read a brief and specific cover letter, and more than likely will keep the DVD for a good while afterwards. Their thought being that it might prove a handy reference for some celebration down the way, or that they know somebody involved in one or more of the productions featured. An upcoming retirement, birthday, anniversary, or other special celebration.
If you live in or near a larger population base with multiple towns within driving distance, or a major city close by, and are willing to work at it, you can acquire names and addresses for area public schools, private clubs, car dealerships that sponsor annual car shows, local youth sports associations, martial arts centers, private dance schools, etc. from a number of resources ranging from the web to Google searches to the Yellow Pages to community/church directories.
I have every address of every client who has ever purchased a copy of something I have produced, or hired me for music instructional video production, product/business/service video for commercial clients, parents who have purchased school or event performance videos. Every address. And these addresses are from people who have purchased something from me before, people who are to some degree more or less familiar with my company and the quality videos I have produced. They are receptive - the absolutely best kind of direct mail addresses you can have, so long as you don’t bombard them with weekly mailings. Once or twice a year to these will be enough to generate a high level of responses for your direct mail campaign.
• Develop an effective sample/demo DVD (they are cheap and easy to produce in house)
• Develop a single-page, double-spaced cover letter telling them, or reminding them who you are
• Provide them with your website URL, e-mail address, mailing address and phone number
• You can use paper sleeves to reduce costs, and mail in invitation-size envelopes, but...
• ...investing a bit more in creating a color insert, using a protective plastic case, is better
• Include a couple or so business cards (don’t be stingy, they might want to share)
• Initiate a call to action: call now, e-mail now, visit now, buy now, (do it now!)
If you invest the time, energy and money. If you are tenacious, follow up with a second letter within 60-90 days (without the DVD this time). If you broaden your scope of video related services. If you obtain good addresses and names - doing it by hand, walking the community and writing them down, recycling the names and addresses of people who have done business with you directly or indirectly (You do keep a past/present client resource list don’t you?)
If you do any or all of these things, work that bridal mailing list you got from the last bridal fair, or any other event in which you’ve participated, you will greatly increase the effectiveness of your direct mail marketing campaign.
For virtually everyone else there’s a cover letter, demo DVD and a stamp for an envelope that has your next client’s name and address on it. The general conception that thousands of pieces have to be mailed out at high cost for postage, purchase of an expensive “iffy” mailing list and a huge investment of time and effort in order to get them out and expect any positive response is simply wrong.
Some direct mail strategies argue that the more specific your target, and the more pieces you send out to demographics reflecting that target - be it income, higher property values, or geographical bracket - the more likely you are to hit that magical one percent return. This also simply is not so. You do not have to settle for a one percent return on 10, 100 or thousands of mailings. You can actually achieve 10 percent return, or better, responses, and a minimum of 30 percent sales from that. How?
By broadening your area of coverage, widening your base of operations and expanding your range of services. If you do more kinds of productions then you can market more of your services to a more general audience and expect a higher rate of response, more sales. For me a shotgun approach - either sending out a lot of pieces to the same interest groups (dance or martial arts schools, for example), or sending out fewer pieces to a more general demographic (individual householdds) - is very effective.
I realize this has a lot to do with the fact that I live and work in a very densely populated area (Southern Califoria) with a broad range of ethnic groups, interests, income levels and life styles. But living elsewhere doesn’t mean you cannot reach the people in your service area though it might be less dense, diverse and mostly poorer households.
Here’s that word I keep pounding on: “Diversification” of your video services. Stop thinking all you can do, have to do, should do or want to do is weddings. Unless, of course, you actually WANT to do weddings and nothing but. If you are a full time independent professional video services provider, or a part time IPVSP working full time hours in the business, you can make more money if you produce more than weddings.
In fact virtually every other video production gig available to you will generate higher income on a per hour worked basis than any wedding you have ever done, or ever will do. I will leave it at that, because this is a fine subject for an article all its own. Later.
Simply being willing to do other video production work puts you at an advantage, not only to acquire more business and generate more income, but an advantage as well in marketing your services by direct mail. I am currently developing a demo DVD that will contain a highly energetic intro with scenes from all the various celebrations of life I’ve produced. It will be brightly colored and printed on it in bold, black letters will be “Celebrate Life!”
In addition to the energetic intro I will have sample clips from each and every category of video production I have ever done. In my case that is going to be a bunch! But you can start something similar and ad to it as you produce other events, community programs, youth sports contests, school performances and activities, birthday, anniversary and milestone events celebrations, etc.
This new demo DVD will be chaptered for, and include an insert, to show the clips and categories featured, offering any recipients the option to view only what interests them at the moment. My slogan for this marketing tool is “Somebody somewhere celebrates something every day!” © Earl Chessher, 1995-2008. Celebrate Life! has been taken, but there’s nothing to prevent me from using that as the promotional title for my direct mail DVD.
Based on my “Somebody somewhere...” approach, this makes every household in the U.S.A. a “good and viable” target address for a direct mail campaign. I have not limited my chances for success by sending out only a wedding demo, or only a montage demo, or only a small business/services demo, commercial video, birthday demo, dance demo...
...get the idea? Somebody at that address is celebrating something the day, or week, or month they receive my direct mail cover letter and demo/sample DVD.
So, by not limiting the video service categories I am willing to provide, broadening my range, I am increasing the probability of a positive response that will take my returns to much higher levels. Even if you only had four categories including weddings, you have quadrupled the possibilities of someone at that residence being interested, or knowing somewho who would.
There is a high level of perceived value when a person receives a special DVD (in spite of AOL’s pervasive disk distribution campaign - notice they’ve discontinued that approach) and he or she will check it out instead of arbitrarily tossing it into the trash. The recipient will read a brief and specific cover letter, and more than likely will keep the DVD for a good while afterwards. Their thought being that it might prove a handy reference for some celebration down the way, or that they know somebody involved in one or more of the productions featured. An upcoming retirement, birthday, anniversary, or other special celebration.
If you live in or near a larger population base with multiple towns within driving distance, or a major city close by, and are willing to work at it, you can acquire names and addresses for area public schools, private clubs, car dealerships that sponsor annual car shows, local youth sports associations, martial arts centers, private dance schools, etc. from a number of resources ranging from the web to Google searches to the Yellow Pages to community/church directories.
I have every address of every client who has ever purchased a copy of something I have produced, or hired me for music instructional video production, product/business/service video for commercial clients, parents who have purchased school or event performance videos. Every address. And these addresses are from people who have purchased something from me before, people who are to some degree more or less familiar with my company and the quality videos I have produced. They are receptive - the absolutely best kind of direct mail addresses you can have, so long as you don’t bombard them with weekly mailings. Once or twice a year to these will be enough to generate a high level of responses for your direct mail campaign.
• Develop an effective sample/demo DVD (they are cheap and easy to produce in house)
• Develop a single-page, double-spaced cover letter telling them, or reminding them who you are
• Provide them with your website URL, e-mail address, mailing address and phone number
• You can use paper sleeves to reduce costs, and mail in invitation-size envelopes, but...
• ...investing a bit more in creating a color insert, using a protective plastic case, is better
• Include a couple or so business cards (don’t be stingy, they might want to share)
• Initiate a call to action: call now, e-mail now, visit now, buy now, (do it now!)
If you invest the time, energy and money. If you are tenacious, follow up with a second letter within 60-90 days (without the DVD this time). If you broaden your scope of video related services. If you obtain good addresses and names - doing it by hand, walking the community and writing them down, recycling the names and addresses of people who have done business with you directly or indirectly (You do keep a past/present client resource list don’t you?)
If you do any or all of these things, work that bridal mailing list you got from the last bridal fair, or any other event in which you’ve participated, you will greatly increase the effectiveness of your direct mail marketing campaign.
Sunday, November 02, 2008
Guerrilla Video: Walk On, Make Money
Before going into this article I want to point out that by scrolling to the bottom of the blog page you can elect to "follow this blog" and become an EC Reader - Thanks Jay, for the suggestion.
You can make a few hundred dollars on an off day simply by walking on at any field where you see youth (or adult) sports activity taking place. You may not always be welcomed, but most of the time you will be if you use the right tact in doing so. With a proper attitude and approach, almost any outdoor activity or public event is eligible to add to your bottom line. Unless, that is, it is being sponsored by Toyota, whomever now owns Busch, or some other huge commercial corporate entity.
Penetrating commercial/corporate sponsored events is not impossible, but let’s keep it simple for now. Stick with public parks, public school fields, and such first, before taking on the bigger venues. There are thousands of events going on virtually every day in the summer, and many evenings and weekends during the school year - all across the country. Recession or no recession.
Bring plenty of business cards, your camcorder, and monopod or tripod, perhaps a shooting ladder for elevation, a pleasant smile and professional decorum. Wear your neat and clean looking cap and/or shirt with your branding. Be prepared with basic order forms, or large postcard size handouts of some kind with general information.
While I have had plenty of success using only my business cards, having a plentiful supply of forms or information sheets often will help you videotape the event you are there to cover without having to spend all your time explaining or selling. Time outs and breaks can sometimes be used for mixing and mingling.
If you do not have a basic order form, or cannot make up one, let me know. While my upcoming marketing package will contain all the ideas I’ve put into action over the years and how to market and do them, it will also have examples, clips, direct mail pieces, and forms you can use as well. Meanwhile, if you’re feeling anxious and ready to romp I can send you a pdf document of something you can use for now.
You can plan ahead for this style of shooting/marketing, or you can simply have the time, see something going on and go for it. I have worked it both ways and both ways have worked for me. Just starting out, I have to say that getting there early and planning to stay throughout the event is usually a best first approach. It gives you time to assess the situation, and gives participants time to grow accustomed to your presence.
I first look for a coach or ask about a team parent, team mother, coach’s wife, etc. I introduce myself, ask if they know of anyone already hired to produce a game tape. If not I tell them I do this often, am insured and will remain out of the way while shooting the game. I let them know of my experience and bonafides, and sometimes have even brought DVD samples of related youth sports events I have produced.
I also tell the coach or head mom or dad, whomever, that for a bit of help, or simply permission or clearance from them, I will “comp” them a copy of what I produce. I usually get help passing out business cards and/or information sheets/postcards, am given a premo spot to place my shooting ladder, and told their kid’s jersey number. At this point I suggest that I always “follow the ball” and that usually results in nearly every child getting in the production at some point.
I have a digital camera I use for the inevitable request to get a team shot for the cover.
I have also done my research and sometimes contacted leagues, league mothers, league sponsors, coaches, youth sports support groups, and other event organizers, setting up a presentation to their respective panels, representatives, boards or activity committees or directors. Getting on the venue for a formal, or even informal, meeting to offer your information, handouts and proposal can sometimes bring on bigger returns, better production runs and strong advance sales.
But, like asking for a cookie before dipping your hand into the jar instead of after you’ve eaten it, this approach can sometimes backfire with too much red tape, control issues or other parental/alpha male/female politics that get in the way of simple, straightforward shooting, editing and sales.
Walk-ons have, by far, been my most fun, adventurous and largest guerrilla gamble payouts. Why? It is an "impulse aisle" thing, where you get people interested in the heat of the moment. Here is where a parent’s camcorder battery ran out of juice, or the tapes were forgotten on the desk at home, or were eaten by the dog, or something broke, or they simply become so engrossed in the game that they keep forgetting to hit the record button. I’ve even known moms, or dads, to wave their hands so wildly, urging their child on to the goal, that the camcorder gets knocked to the ground. Oops.
This kind of shooting, production and sales is wide open in spite of the fact that some might have already made arrangements for coverage and production by a independent professional video services provider. These people sometimes become lax or lazy, screw up big time at a major event, or simply do not show up as expected. I am there and often it is a “right place, right time” happening.
And, it is not limited to youth/adult sports - baseball, basketball, soccer, football, softball, swim teams, rowing teams, martial arts events, water polo, equestrian events and more. I have had great success covering antique and custom car shows (pre-planned and walk-on); outdoor art and crafts shows; drag racing events - a friend of mine in Arkansas is making quite a specialty in covering outlaw drag racing events in his area, becoming the official videographer for the local group.
I’ve made a killing as walk-on video producer for area skateboard competitions, amateur volleyball tournaments, rock climbing events, and a wide selection of festivals held throughout the year. Area publications often provide advance information of community, sports and other special events being held in the area. Read, make some notes, grab your camera and fill in that unbooked date. You have caught up with your editing backlog, right?
It would be to your advantage also to have liability coverage. Proof of having this has actually helped ease me through doors (well, gates) at many a ball field or other sports venue. I have to stress, however, that walking on without reflecting an “I have every right to be here and you can’t tell me to leave, or I paid taxes to support this public facility - attitude” will do more than anything else to get you in and keep you there.
All that being said, guerrilla marketing/shooting will only work for those who have the gumption to try it. Some are not comfortable with this aggressive style of doing business. It isn’t for everybody, but then what is?
You can make a few hundred dollars on an off day simply by walking on at any field where you see youth (or adult) sports activity taking place. You may not always be welcomed, but most of the time you will be if you use the right tact in doing so. With a proper attitude and approach, almost any outdoor activity or public event is eligible to add to your bottom line. Unless, that is, it is being sponsored by Toyota, whomever now owns Busch, or some other huge commercial corporate entity.
Penetrating commercial/corporate sponsored events is not impossible, but let’s keep it simple for now. Stick with public parks, public school fields, and such first, before taking on the bigger venues. There are thousands of events going on virtually every day in the summer, and many evenings and weekends during the school year - all across the country. Recession or no recession.
Bring plenty of business cards, your camcorder, and monopod or tripod, perhaps a shooting ladder for elevation, a pleasant smile and professional decorum. Wear your neat and clean looking cap and/or shirt with your branding. Be prepared with basic order forms, or large postcard size handouts of some kind with general information.
While I have had plenty of success using only my business cards, having a plentiful supply of forms or information sheets often will help you videotape the event you are there to cover without having to spend all your time explaining or selling. Time outs and breaks can sometimes be used for mixing and mingling.
If you do not have a basic order form, or cannot make up one, let me know. While my upcoming marketing package will contain all the ideas I’ve put into action over the years and how to market and do them, it will also have examples, clips, direct mail pieces, and forms you can use as well. Meanwhile, if you’re feeling anxious and ready to romp I can send you a pdf document of something you can use for now.
You can plan ahead for this style of shooting/marketing, or you can simply have the time, see something going on and go for it. I have worked it both ways and both ways have worked for me. Just starting out, I have to say that getting there early and planning to stay throughout the event is usually a best first approach. It gives you time to assess the situation, and gives participants time to grow accustomed to your presence.
I first look for a coach or ask about a team parent, team mother, coach’s wife, etc. I introduce myself, ask if they know of anyone already hired to produce a game tape. If not I tell them I do this often, am insured and will remain out of the way while shooting the game. I let them know of my experience and bonafides, and sometimes have even brought DVD samples of related youth sports events I have produced.
I also tell the coach or head mom or dad, whomever, that for a bit of help, or simply permission or clearance from them, I will “comp” them a copy of what I produce. I usually get help passing out business cards and/or information sheets/postcards, am given a premo spot to place my shooting ladder, and told their kid’s jersey number. At this point I suggest that I always “follow the ball” and that usually results in nearly every child getting in the production at some point.
I have a digital camera I use for the inevitable request to get a team shot for the cover.
I have also done my research and sometimes contacted leagues, league mothers, league sponsors, coaches, youth sports support groups, and other event organizers, setting up a presentation to their respective panels, representatives, boards or activity committees or directors. Getting on the venue for a formal, or even informal, meeting to offer your information, handouts and proposal can sometimes bring on bigger returns, better production runs and strong advance sales.
But, like asking for a cookie before dipping your hand into the jar instead of after you’ve eaten it, this approach can sometimes backfire with too much red tape, control issues or other parental/alpha male/female politics that get in the way of simple, straightforward shooting, editing and sales.
Walk-ons have, by far, been my most fun, adventurous and largest guerrilla gamble payouts. Why? It is an "impulse aisle" thing, where you get people interested in the heat of the moment. Here is where a parent’s camcorder battery ran out of juice, or the tapes were forgotten on the desk at home, or were eaten by the dog, or something broke, or they simply become so engrossed in the game that they keep forgetting to hit the record button. I’ve even known moms, or dads, to wave their hands so wildly, urging their child on to the goal, that the camcorder gets knocked to the ground. Oops.
This kind of shooting, production and sales is wide open in spite of the fact that some might have already made arrangements for coverage and production by a independent professional video services provider. These people sometimes become lax or lazy, screw up big time at a major event, or simply do not show up as expected. I am there and often it is a “right place, right time” happening.
And, it is not limited to youth/adult sports - baseball, basketball, soccer, football, softball, swim teams, rowing teams, martial arts events, water polo, equestrian events and more. I have had great success covering antique and custom car shows (pre-planned and walk-on); outdoor art and crafts shows; drag racing events - a friend of mine in Arkansas is making quite a specialty in covering outlaw drag racing events in his area, becoming the official videographer for the local group.
I’ve made a killing as walk-on video producer for area skateboard competitions, amateur volleyball tournaments, rock climbing events, and a wide selection of festivals held throughout the year. Area publications often provide advance information of community, sports and other special events being held in the area. Read, make some notes, grab your camera and fill in that unbooked date. You have caught up with your editing backlog, right?
It would be to your advantage also to have liability coverage. Proof of having this has actually helped ease me through doors (well, gates) at many a ball field or other sports venue. I have to stress, however, that walking on without reflecting an “I have every right to be here and you can’t tell me to leave, or I paid taxes to support this public facility - attitude” will do more than anything else to get you in and keep you there.
All that being said, guerrilla marketing/shooting will only work for those who have the gumption to try it. Some are not comfortable with this aggressive style of doing business. It isn’t for everybody, but then what is?
Tuesday, October 28, 2008
Video Gone to the Dogs, and Cats
Your video production business can literally go to the dogs...
...and cats! Birds! Monkeys! Ferrets!
But you will still be able to make a living at it because people love their pets and often become enthusiastic when you suggest creating a professionally produced Pet Video Biography of one (or all) of their non-human family members. I mention dogs first, because they are either neck-and-neck or second only to cats in how they are loved, doted upon, spoiled and treated...
...as well as abused, but that is another story I will share at the end of this article.
Any breed, or type of animal or creature that can display a personality, do tricks on command, or respond to its human companion is ripe to star in its own video biography. And the family members who love and care for their special friends love having something to show off to other friends and family members, as well as the story of their pet that they can visit in the event that one day their favorite animal is no longer around. Pet Video Biographies extend the lives of these animals for their families, renewing and preserving special memories over the years.
Maybe even fish...
...well, maybe not a fish. Perhaps if there is a pet dolphin?
Pet Video Biographies are excellent focus for personal professional video production services. Properly promoted and with good production skills represented in a couple of samples you could make this aspect of video production a full time career in and of itself.
I created one example, using a special family pet, a black lab - young, energetic, personable and special (obviously) - to its human family, as well as neighborhood friends, both canine and human. His name is Mickey.
I spent about an hour with Mickey and members of his family, videotaping Mickey's favorite activity - going for a walk around the neighborhood. Mickey loves his family, and they love him, and he gets so excited when it comes time for his daily exercise routine that he almost puts on his leash by himself. Well, he does take it in his mouth and makes a dash for the back yard gate, tossing the leash end up into the air and catching it in his mouth, sometimes nearly making the loop fall over his head and onto his neck.
I've no doubt that Mickey sooner or later will learn to make that trick happen. He also lets one of his family place a doggy bone biscuit on top of his nose then, upon command, makes a quick move causing the biscuit to disappear into his mouth. Before that command though, Mickey rolls his eyes, searching and patiently waiting for the command that will let him put the tasty treat where it belongs. Mickey has no problem letting the rest of the family know when he is hungry as well, grabbing his food dish in his mouth and sitting in front of the first one home, looking up with those expressive eyes, catching their look and smile before dropping the dish at their feet. Subtle hint, huh.
The family has something to say as well, sharing special anecdotes, tales of excitement, close encounters of the scary kind, and unique personality traits and tricks their favorite pet can perform. Many of these can be captured as well, along with the narrative that will often take on a life of its own. Invariably, there will be family photos of their pet as well, alone and sharing in family outings, splashing at the beach or in the lake, riding the boat, bicycle or even a little red wagon - maybe even pulling some kids in one.
The narrative, the live footage, photos - from "childhood" to those taken during production acquisition, as well as stills taken from some of the live footage that does not lend to inclusion as moving shots because, well, maybe the pet isn't moving. Maybe he, she or it is posing. All this comes together to create a combination of narrative, establishing a story line; action and photo montage with music that can generate a very special production.
Usually, for this kind of production, I find that on-camera audio is adequate for the purpose. But you can certainly improve the interview, or story telling part of the video by using a more direct audio acquisition approach when action is not involved. I was fortunate in my first sample production because Mickey's family genuinely loves him with great affection. Talking about him, interacting with him, and talking to him came perfectly natural for them, giving me all the narrative I needed to put it together.
There will be challenges. There will be perfect and natural successes. There will be many experiences and interesting events along the way, but offering, creating and producing Pet Video Biographies can fill a special service niche for pets, pet lovers and people who love capturing their stories on video. When professionally edited, these documentaries are an excellent formula for growing your business as a professional video services provider.
I also acquired through a library of public access images, and my own, a series of mixed dog and cat still shots that I put together in a music montage. As a demo, I discovered that this was a bit to long, and am now in the process of reducing the sample to only enough special images and a music track that can represent to potential pet lovers another, more affordable, possibility for preserving their memories of their special animal friends.
I currently shoot up to one hour, at $100 per hour. This is usually enough if the participants have planned it, or if it is part of a standard daily routine (these come off a bit more natural, usually). Sometimes it may take more time, more dates...charge accordingly.
I include photos (theirs) at $3 per image for actual photos; $2 for slides; and $1 per image for digital jpegs on CD. I charge per music selection (they provide on their personally purchased and owned CDs); titles or other special inclusions.
I charge $100 to $200 for editing, depending on the complexity, and deliver a production that varies in length from 12 minutes to 30 minutes. Their first DVD, with special printed graphics on insert and DVD, and clear plastic library case, is $25. Copies 1 to 10 are $15 each; 11 or more go for $10 each - all with the custom graphics.
I average about $400 per project, for around 4-5 hours of work. Not a bad way - FUN actually - to pick up some coin, enjoy the "work", get out of the standard wedding/event production routine, and tell a special story. This is something you can actually feel good about.
Regarding pricing - I've gone cheaper, and I've charged more, depending on the situation, story, cooperation and the family's budget and interest level.
I talked earlier about abused and/or abandoned pets. Millions of dogs and cats a year are mistreated, abused, abandoned, all too few of them finding their way into a shelter. Sadly, even the shelter is often only a way station to euthanasia - a necessary but troubling mercy killing of all but a rare select few who find a second home with loving people. (Other species also are victims of uncaring, or stupid heartless, people, I am sure - we often read or hear of horses, pet pigs, boas and other animals suffering from inhuman treatment, or lack of...)
Video can be utilized here as well. A local public access station I have worked with in the past always maintained a program, or allowed time as part of another program, to introduce a few animals from the local shelter, hoping to entice someone watching to come, visit and take home a pet. Paid, or simply finding a way to provide this service for your local animal shelter can go a long way toward establishing you as a caring and active community member, pet lover and provider for a very real need. Contact your local shelter and find out what you can do with your video skills that might help a few of these animals find loving homes.
Did you know that a ferret is a domesticated version of the Old World polecat, often trained to hunt for rats and rabbits?
That's it for now. Find a pet. Tell a story. Make some money.
...and cats! Birds! Monkeys! Ferrets!
But you will still be able to make a living at it because people love their pets and often become enthusiastic when you suggest creating a professionally produced Pet Video Biography of one (or all) of their non-human family members. I mention dogs first, because they are either neck-and-neck or second only to cats in how they are loved, doted upon, spoiled and treated...
...as well as abused, but that is another story I will share at the end of this article.
Any breed, or type of animal or creature that can display a personality, do tricks on command, or respond to its human companion is ripe to star in its own video biography. And the family members who love and care for their special friends love having something to show off to other friends and family members, as well as the story of their pet that they can visit in the event that one day their favorite animal is no longer around. Pet Video Biographies extend the lives of these animals for their families, renewing and preserving special memories over the years.
Maybe even fish...
...well, maybe not a fish. Perhaps if there is a pet dolphin?
Pet Video Biographies are excellent focus for personal professional video production services. Properly promoted and with good production skills represented in a couple of samples you could make this aspect of video production a full time career in and of itself.
I created one example, using a special family pet, a black lab - young, energetic, personable and special (obviously) - to its human family, as well as neighborhood friends, both canine and human. His name is Mickey.
I spent about an hour with Mickey and members of his family, videotaping Mickey's favorite activity - going for a walk around the neighborhood. Mickey loves his family, and they love him, and he gets so excited when it comes time for his daily exercise routine that he almost puts on his leash by himself. Well, he does take it in his mouth and makes a dash for the back yard gate, tossing the leash end up into the air and catching it in his mouth, sometimes nearly making the loop fall over his head and onto his neck.
I've no doubt that Mickey sooner or later will learn to make that trick happen. He also lets one of his family place a doggy bone biscuit on top of his nose then, upon command, makes a quick move causing the biscuit to disappear into his mouth. Before that command though, Mickey rolls his eyes, searching and patiently waiting for the command that will let him put the tasty treat where it belongs. Mickey has no problem letting the rest of the family know when he is hungry as well, grabbing his food dish in his mouth and sitting in front of the first one home, looking up with those expressive eyes, catching their look and smile before dropping the dish at their feet. Subtle hint, huh.
The family has something to say as well, sharing special anecdotes, tales of excitement, close encounters of the scary kind, and unique personality traits and tricks their favorite pet can perform. Many of these can be captured as well, along with the narrative that will often take on a life of its own. Invariably, there will be family photos of their pet as well, alone and sharing in family outings, splashing at the beach or in the lake, riding the boat, bicycle or even a little red wagon - maybe even pulling some kids in one.
The narrative, the live footage, photos - from "childhood" to those taken during production acquisition, as well as stills taken from some of the live footage that does not lend to inclusion as moving shots because, well, maybe the pet isn't moving. Maybe he, she or it is posing. All this comes together to create a combination of narrative, establishing a story line; action and photo montage with music that can generate a very special production.
Usually, for this kind of production, I find that on-camera audio is adequate for the purpose. But you can certainly improve the interview, or story telling part of the video by using a more direct audio acquisition approach when action is not involved. I was fortunate in my first sample production because Mickey's family genuinely loves him with great affection. Talking about him, interacting with him, and talking to him came perfectly natural for them, giving me all the narrative I needed to put it together.
There will be challenges. There will be perfect and natural successes. There will be many experiences and interesting events along the way, but offering, creating and producing Pet Video Biographies can fill a special service niche for pets, pet lovers and people who love capturing their stories on video. When professionally edited, these documentaries are an excellent formula for growing your business as a professional video services provider.
I also acquired through a library of public access images, and my own, a series of mixed dog and cat still shots that I put together in a music montage. As a demo, I discovered that this was a bit to long, and am now in the process of reducing the sample to only enough special images and a music track that can represent to potential pet lovers another, more affordable, possibility for preserving their memories of their special animal friends.
I currently shoot up to one hour, at $100 per hour. This is usually enough if the participants have planned it, or if it is part of a standard daily routine (these come off a bit more natural, usually). Sometimes it may take more time, more dates...charge accordingly.
I include photos (theirs) at $3 per image for actual photos; $2 for slides; and $1 per image for digital jpegs on CD. I charge per music selection (they provide on their personally purchased and owned CDs); titles or other special inclusions.
I charge $100 to $200 for editing, depending on the complexity, and deliver a production that varies in length from 12 minutes to 30 minutes. Their first DVD, with special printed graphics on insert and DVD, and clear plastic library case, is $25. Copies 1 to 10 are $15 each; 11 or more go for $10 each - all with the custom graphics.
I average about $400 per project, for around 4-5 hours of work. Not a bad way - FUN actually - to pick up some coin, enjoy the "work", get out of the standard wedding/event production routine, and tell a special story. This is something you can actually feel good about.
Regarding pricing - I've gone cheaper, and I've charged more, depending on the situation, story, cooperation and the family's budget and interest level.
I talked earlier about abused and/or abandoned pets. Millions of dogs and cats a year are mistreated, abused, abandoned, all too few of them finding their way into a shelter. Sadly, even the shelter is often only a way station to euthanasia - a necessary but troubling mercy killing of all but a rare select few who find a second home with loving people. (Other species also are victims of uncaring, or stupid heartless, people, I am sure - we often read or hear of horses, pet pigs, boas and other animals suffering from inhuman treatment, or lack of...)
Video can be utilized here as well. A local public access station I have worked with in the past always maintained a program, or allowed time as part of another program, to introduce a few animals from the local shelter, hoping to entice someone watching to come, visit and take home a pet. Paid, or simply finding a way to provide this service for your local animal shelter can go a long way toward establishing you as a caring and active community member, pet lover and provider for a very real need. Contact your local shelter and find out what you can do with your video skills that might help a few of these animals find loving homes.
Did you know that a ferret is a domesticated version of the Old World polecat, often trained to hunt for rats and rabbits?
That's it for now. Find a pet. Tell a story. Make some money.
Friday, October 24, 2008
Great Ideas Only Work if You Do
I can post something every single day here that has the potential to make you money with your video equipment, bring you new business and clients and take you from aspiring beginner to money making business person. But, as the title says, you are going to have to put some forth some effort in order for any of my ideas, or yours, to work.
I don‘t want to sound like a preacher here, but so many times people tell me “it won’t fly” talking about one or another of my...
...“concepts” they call them. To be honest with you I’ve not yet written about anything I haven’t personally tried. And, the only reason any of my “concepts” do not pan out is that I quit working at it.
I admit that most of my suggestions for diversified video business are not new, or even unique. Most of them in one form or another have been tried with light to moderate success, occasionally to huge levels of success. Most of you at one time or another have thought of doing one or more of my suggestions, but never seem to quite get around to it.
Keep in mind, however, that if you are not excited about it, your potential clients will not be either. It takes effort to prime the pump of possibility, and you have to find ways to spread the word about your services that will be most effective for you. Waiting for the phone to ring, for someone to find you by chance, or show up at your door isn’t going to cut it.
Sure, you know this, but we all still fall into a non-aggressive rut occasionally and become lax in our attempts to stimulate business.
That being said, take video-to-DVD transfer services, for example. You can let people know you are willing to provide this service, tell your existing client base that you offer this service, advertise and promote the service in a big way. Essentially, this is grunt work, and though others have expounded on it as being “easy money” and a “monkey job” that anybody with a VHS-to-DVD standalone burner can accomplish, there is a bit more to the process.
There’s more you have to do if you even care to compete with all the drug store chains and WalMart types that provide similar services at cheap prices. First, get it out of your mind that you must compete with price. You cannot! The difference, and one for which many individuals are willing to pay, is personal service.
I tell my existing client base, and people who inquire after finding me on the web, or referrals from other satisfied customers, that the difference between what I do and what the local drug store chain does is that I “babysit” their tapes. If something goes wrong - tape jams, long lengths of no image or audio, broken tapes, short tape lengths, etc. - I am there to do something about it, not just let it continue recording (or not) junk footage.
Sure, I’m multitasking (to the extent that a male is capable) but I am in the same room, always alert to situations that can arise when transferring video to DVD. I am getting other work done, but I am giving their transfer projects my professional attention as well.
What I do not do, is take their prized videotapes, giving the illusion that I will personally be doing the work, then ship it off to Crater, Moon or some other facility where the process isn’t as I have described to them. You know, the one about personal service.
If my clients come up with a format I cannot handle, I do have resources for getting them done. I always explain that I have to outsource this format, but will do everything in my power to ensure the safe handling and return of their original materials. If you do enough stuff like this, and ship out enough product, sooner or later something will happen. Murphy’s Law is a guarantee, right up there with death and taxes. Just be prepared to be up front, and honest about the mishap. Commiserate with them, show empathy, and refund their money, as well as some portion of the insurance you placed on their (now lost, damaged or destroyed) materials.
Insurance will not replace those memories, but money and sympathy will go a long way toward softening the situation. Never, ever, send a client’s personal materials out without insuring it for all you can claim, and without first having your client’s signed written permission to do so on file. This is a highly recommended C.Y.A. measure.
If you are not yet frighted away from trying. Start by investing around $150 in a VHS-to-DVD transfer system. Most brand name consumer products perform nicely. Get an adapter for VHS-C tapes and you are in the VHS and compact VHS transfer business. Have an Hi8/Regular 8 deck or camera with A/V outputs, you are good to go on another format. MiniDV camera with outputs, or a playback deck? There you go.
There are other formats, and you either need to plan to establish resources for outsourcing this material, or avoid it, or refer it to a resource you trust. Film transfer? Even I tremble at the thought and will always outsource film transfers, or refer my clients directly. I have done some on a very small scale, but unless you are properly equipped and can capture a large enough volume of this business, it is not for the faint of heart.
Pricing is pretty straightforward. Yet, clients will still attempt to find ways to whittle down their costs. Don’t yield. If they use the local drug store argument, politely suggest that this might be their best route if they are on a limited budget, or don’t care about much more than getting their memories dubbed over for archival purposes.
I now charge $35 for each one-hour of video, or portion thereof. I will only place up to 2 hours of video on each DVD. And, I charge a $1 tape change fee for people who also want to squeeze as many tapes as they can (like the old 20 minute VHS-C format, for example). So, a DVD will cost them $70 for up to 2 hours of transferred video, and they will pay me an additional $1 each time I change to the next tape. This should give you a basis for establishing your own transfer service price list. You can also check out the competition on the Web via a Google search. Just remember to not fall into a price competition rut.
Make sure what you do is what you WANT to do, and make what you get for it worth your while.
I don‘t want to sound like a preacher here, but so many times people tell me “it won’t fly” talking about one or another of my...
...“concepts” they call them. To be honest with you I’ve not yet written about anything I haven’t personally tried. And, the only reason any of my “concepts” do not pan out is that I quit working at it.
I admit that most of my suggestions for diversified video business are not new, or even unique. Most of them in one form or another have been tried with light to moderate success, occasionally to huge levels of success. Most of you at one time or another have thought of doing one or more of my suggestions, but never seem to quite get around to it.
Keep in mind, however, that if you are not excited about it, your potential clients will not be either. It takes effort to prime the pump of possibility, and you have to find ways to spread the word about your services that will be most effective for you. Waiting for the phone to ring, for someone to find you by chance, or show up at your door isn’t going to cut it.
Sure, you know this, but we all still fall into a non-aggressive rut occasionally and become lax in our attempts to stimulate business.
That being said, take video-to-DVD transfer services, for example. You can let people know you are willing to provide this service, tell your existing client base that you offer this service, advertise and promote the service in a big way. Essentially, this is grunt work, and though others have expounded on it as being “easy money” and a “monkey job” that anybody with a VHS-to-DVD standalone burner can accomplish, there is a bit more to the process.
There’s more you have to do if you even care to compete with all the drug store chains and WalMart types that provide similar services at cheap prices. First, get it out of your mind that you must compete with price. You cannot! The difference, and one for which many individuals are willing to pay, is personal service.
I tell my existing client base, and people who inquire after finding me on the web, or referrals from other satisfied customers, that the difference between what I do and what the local drug store chain does is that I “babysit” their tapes. If something goes wrong - tape jams, long lengths of no image or audio, broken tapes, short tape lengths, etc. - I am there to do something about it, not just let it continue recording (or not) junk footage.
Sure, I’m multitasking (to the extent that a male is capable) but I am in the same room, always alert to situations that can arise when transferring video to DVD. I am getting other work done, but I am giving their transfer projects my professional attention as well.
What I do not do, is take their prized videotapes, giving the illusion that I will personally be doing the work, then ship it off to Crater, Moon or some other facility where the process isn’t as I have described to them. You know, the one about personal service.
If my clients come up with a format I cannot handle, I do have resources for getting them done. I always explain that I have to outsource this format, but will do everything in my power to ensure the safe handling and return of their original materials. If you do enough stuff like this, and ship out enough product, sooner or later something will happen. Murphy’s Law is a guarantee, right up there with death and taxes. Just be prepared to be up front, and honest about the mishap. Commiserate with them, show empathy, and refund their money, as well as some portion of the insurance you placed on their (now lost, damaged or destroyed) materials.
Insurance will not replace those memories, but money and sympathy will go a long way toward softening the situation. Never, ever, send a client’s personal materials out without insuring it for all you can claim, and without first having your client’s signed written permission to do so on file. This is a highly recommended C.Y.A. measure.
If you are not yet frighted away from trying. Start by investing around $150 in a VHS-to-DVD transfer system. Most brand name consumer products perform nicely. Get an adapter for VHS-C tapes and you are in the VHS and compact VHS transfer business. Have an Hi8/Regular 8 deck or camera with A/V outputs, you are good to go on another format. MiniDV camera with outputs, or a playback deck? There you go.
There are other formats, and you either need to plan to establish resources for outsourcing this material, or avoid it, or refer it to a resource you trust. Film transfer? Even I tremble at the thought and will always outsource film transfers, or refer my clients directly. I have done some on a very small scale, but unless you are properly equipped and can capture a large enough volume of this business, it is not for the faint of heart.
Pricing is pretty straightforward. Yet, clients will still attempt to find ways to whittle down their costs. Don’t yield. If they use the local drug store argument, politely suggest that this might be their best route if they are on a limited budget, or don’t care about much more than getting their memories dubbed over for archival purposes.
I now charge $35 for each one-hour of video, or portion thereof. I will only place up to 2 hours of video on each DVD. And, I charge a $1 tape change fee for people who also want to squeeze as many tapes as they can (like the old 20 minute VHS-C format, for example). So, a DVD will cost them $70 for up to 2 hours of transferred video, and they will pay me an additional $1 each time I change to the next tape. This should give you a basis for establishing your own transfer service price list. You can also check out the competition on the Web via a Google search. Just remember to not fall into a price competition rut.
Make sure what you do is what you WANT to do, and make what you get for it worth your while.
Wednesday, October 22, 2008
Make Money with Video Greeting Cards
You can make money creating and selling Video Greeting Cards even in this current tight money and DIY (do it yourself) market environment. Though there are plenty of available programs and internet resources for this, not all DIYers are getting beyond the usual amateur creations. In addition to providing DIYers with a more professional product, there are plenty who do not fall into the DIY category.
The market is wide open for a fresh, if not unique, approach to greeting card creation and sharing. In years past I have done this full scale using a shopping mall booth rental during the holiday season (actually from Oct. 1 through New Year’s Eve), as well as on a smaller scale, marketing to existing clients I know might be receptive.
Ironically, my biggest Video Greeting Card breakthrough came last season when I decided to develop my own personal and business VGCs and sent out about a hundred of them. Several clients, as well as family and friends responded to thank me for the “special and unique” holiday greeting. And, they wanted to know if I could create VGCs for them!
Initiating a set of appropriate content for differing personalities, and developing a library large enough to give some choice for people is, and will continue to be a challenge, but there's no doubt that investing time to do so can pay off.
My typical Video Greeting Card is about 15 minutes in length. I have a few that focus on specific holidays such as Thanksgiving, Mother’s/Father’s Day, Halloween and, of course the Christmas season with its various flavors - from traditional to religious, to contemporary, serious or humorous.
When I developed material for the shopping mall experiment, I generated a number of selections and seasons with appropriate music from my library of copyright free selections, and used live video as well as moving stills representing the event. For example, I have collected quite a library of outdoor winter scenes and holiday decorations for the Christmas themes.
At the mall, and even now, I added a live greeting from individual or families, inserted that at the end of what is essentially a montage with music, then created my master. This first experience was during the VHS era, so I used short tapes purchased specifically for the purpose.
Now, with DVD, the process is even easier and faster, offering time to generate 20 or more copies for people who want to do more than just send one to a specific special person, family member, friend or client.
You will have to figure out what your time and the product is worth, and also what your specific market will bear. This starts out feeling like a labor of love but can soon escalate into a fun and profitable element of business. Things can change, and you will not always experience a long shelf life of the contents used even from a year ago, but Video Greeting Cards are an excellent approach to a work once, sell many concept.
Creating, marketing, selling and producing Video Greeting Cards can grow as huge as you want, or stay as subtle as you desire. It is up to you how much time, effort, money and income you put into or get out of this, but the market is real.
There is a lot more to this aspect of diversified video business, but this article should be enough to get your creative juices going. I will follow up with more details as reader interest dictates.
The market is wide open for a fresh, if not unique, approach to greeting card creation and sharing. In years past I have done this full scale using a shopping mall booth rental during the holiday season (actually from Oct. 1 through New Year’s Eve), as well as on a smaller scale, marketing to existing clients I know might be receptive.
Ironically, my biggest Video Greeting Card breakthrough came last season when I decided to develop my own personal and business VGCs and sent out about a hundred of them. Several clients, as well as family and friends responded to thank me for the “special and unique” holiday greeting. And, they wanted to know if I could create VGCs for them!
Initiating a set of appropriate content for differing personalities, and developing a library large enough to give some choice for people is, and will continue to be a challenge, but there's no doubt that investing time to do so can pay off.
My typical Video Greeting Card is about 15 minutes in length. I have a few that focus on specific holidays such as Thanksgiving, Mother’s/Father’s Day, Halloween and, of course the Christmas season with its various flavors - from traditional to religious, to contemporary, serious or humorous.
When I developed material for the shopping mall experiment, I generated a number of selections and seasons with appropriate music from my library of copyright free selections, and used live video as well as moving stills representing the event. For example, I have collected quite a library of outdoor winter scenes and holiday decorations for the Christmas themes.
At the mall, and even now, I added a live greeting from individual or families, inserted that at the end of what is essentially a montage with music, then created my master. This first experience was during the VHS era, so I used short tapes purchased specifically for the purpose.
Now, with DVD, the process is even easier and faster, offering time to generate 20 or more copies for people who want to do more than just send one to a specific special person, family member, friend or client.
You will have to figure out what your time and the product is worth, and also what your specific market will bear. This starts out feeling like a labor of love but can soon escalate into a fun and profitable element of business. Things can change, and you will not always experience a long shelf life of the contents used even from a year ago, but Video Greeting Cards are an excellent approach to a work once, sell many concept.
Creating, marketing, selling and producing Video Greeting Cards can grow as huge as you want, or stay as subtle as you desire. It is up to you how much time, effort, money and income you put into or get out of this, but the market is real.
There is a lot more to this aspect of diversified video business, but this article should be enough to get your creative juices going. I will follow up with more details as reader interest dictates.
Monday, October 13, 2008
Marketing Projection Services
You can pick up a lot of business, new clients and referrals simply by doing something for free!
“Free?” You ask. Why not? I am willing to bet that over the period of a year most people in business do something for free, believing this will somehow bring them extra paid business. Done wrong, it will bring you nothing but frustration. But, done right...
...you will get your money’s worth, or your time’s worth.
In this particular case I am talking about promotion of not only your availability for providing projection services, but your production work as well. A few times over the past six months I have held planned, and impromptu, block parties, backyard events and even a Movie in the Park event that brought me a lot of good contacts and new business.
I have to tell you that there are potential hazards to doing this, especially in this litigious era where lawsuits, complaints and city/county ordinances abound. Some people with attitudes get miserable just watching others enjoying themselves and are quick to lob verbal, legal or real water balloons at the happy crowd. Use a bit of discretion and plan your guerrilla style movie presentations a little and you might be able to avoid the nastys.
I’ve had people who live on a circle actually get neighborhood permission to close the circle off and throw a block party where I’ve offered to project a movie. The “catch” to my offer is that prior to, and following the movie, I show one of my productions. I might show a montage, a cuts-to-the beat production with photos of kids and animals (pets), or even a wedding highlight, or some other celebration event.
I have also shown highlights of youth sports events, especially if I have something that includes or involves the people throwing the block party.
I have done the same thing with others who have made neighborhood announcements that they will be having a neighborhood social in their back yard. They also announce a movie showing to be projected on the Big Screen (I use a 6x8, T-stand screen), and maybe even children’s entertainment as well. Again, I show my stuff before and/or after.
The most guerrilla of these is to take a chance on showing a Movie in the Park. I am particularly lucky in that I have access to a few small parks in my area where pretty much anything but loud rock concerts goes, at least until 10 p.m. or so at night. This works especially well if you try it on a weekend as opposed to week nights, when surrounding residents might resent the noise and complain. I mean they have to get up and go to work next morning, and they probably want their kids to get some rest before school. Right?
Summer time is more conducive to mid-week park projections, but be prepared for a few people who might “crash” your event and try to raise a bit of sand. Usually, however, you and a few of your followers can keep the bad boys toned down.
I have been able to access power from some nearby source, even from the park’s auxiliary facility - some parks do have these and you can usually sign up to use the facility if you plan ahead. I have sent out notices, usually by e-mail, to people in my neighborhood, others whom I know, and urge them to invite friends. Keep it smaller rather than trying to attract a crowd of hundreds - the local law enforcement will surely come down on you then, and not because they want to watch your movie.
You can get permits, ask permission, get neighborhood support, etc. and sometimes you can simply jump in and back out before anybody causes a problem. Another thing is to not always show something at the same place, on the same day, at the same time. You can be responsible about this, or treat it like a RAVE - notifying past participants via phone text or e-mail.
Occasionally the shear outlaw sense of showing a Movie in the Park will be fun if you can keep things from getting out of hand. Use some common sense about it. And reap the benefits of having an open-minded, fun-loving crowd that not only enjoys the movie, but your productions as well, brings out potluck-style snacks and asks for business cards.
“Free?” You ask. Why not? I am willing to bet that over the period of a year most people in business do something for free, believing this will somehow bring them extra paid business. Done wrong, it will bring you nothing but frustration. But, done right...
...you will get your money’s worth, or your time’s worth.
In this particular case I am talking about promotion of not only your availability for providing projection services, but your production work as well. A few times over the past six months I have held planned, and impromptu, block parties, backyard events and even a Movie in the Park event that brought me a lot of good contacts and new business.
I have to tell you that there are potential hazards to doing this, especially in this litigious era where lawsuits, complaints and city/county ordinances abound. Some people with attitudes get miserable just watching others enjoying themselves and are quick to lob verbal, legal or real water balloons at the happy crowd. Use a bit of discretion and plan your guerrilla style movie presentations a little and you might be able to avoid the nastys.
I’ve had people who live on a circle actually get neighborhood permission to close the circle off and throw a block party where I’ve offered to project a movie. The “catch” to my offer is that prior to, and following the movie, I show one of my productions. I might show a montage, a cuts-to-the beat production with photos of kids and animals (pets), or even a wedding highlight, or some other celebration event.
I have also shown highlights of youth sports events, especially if I have something that includes or involves the people throwing the block party.
I have done the same thing with others who have made neighborhood announcements that they will be having a neighborhood social in their back yard. They also announce a movie showing to be projected on the Big Screen (I use a 6x8, T-stand screen), and maybe even children’s entertainment as well. Again, I show my stuff before and/or after.
The most guerrilla of these is to take a chance on showing a Movie in the Park. I am particularly lucky in that I have access to a few small parks in my area where pretty much anything but loud rock concerts goes, at least until 10 p.m. or so at night. This works especially well if you try it on a weekend as opposed to week nights, when surrounding residents might resent the noise and complain. I mean they have to get up and go to work next morning, and they probably want their kids to get some rest before school. Right?
Summer time is more conducive to mid-week park projections, but be prepared for a few people who might “crash” your event and try to raise a bit of sand. Usually, however, you and a few of your followers can keep the bad boys toned down.
I have been able to access power from some nearby source, even from the park’s auxiliary facility - some parks do have these and you can usually sign up to use the facility if you plan ahead. I have sent out notices, usually by e-mail, to people in my neighborhood, others whom I know, and urge them to invite friends. Keep it smaller rather than trying to attract a crowd of hundreds - the local law enforcement will surely come down on you then, and not because they want to watch your movie.
You can get permits, ask permission, get neighborhood support, etc. and sometimes you can simply jump in and back out before anybody causes a problem. Another thing is to not always show something at the same place, on the same day, at the same time. You can be responsible about this, or treat it like a RAVE - notifying past participants via phone text or e-mail.
Occasionally the shear outlaw sense of showing a Movie in the Park will be fun if you can keep things from getting out of hand. Use some common sense about it. And reap the benefits of having an open-minded, fun-loving crowd that not only enjoys the movie, but your productions as well, brings out potluck-style snacks and asks for business cards.
Friday, October 10, 2008
Offering Projection Services
Sometimes you have to spend money to make money: investing in projection equipment in order to market a value-added service, for example.
That can be easier said than done during the present economic state of the union, and your pocketbook. However, if you can manage $2,000 or less (often way less) to invest in a large screen, projector, table, skirt and a bit of marketing you can easily recoup your investment in 90 days or less.
All it would take would be four, maybe five gigs and you’re now into R.O.I. territory.
“Projection!” you might exclaim. Who is going to pay for projection services in today’s depressed economy when I cannot even get them to buy into wedding video production?
The short answer is: A lot of people will “buy into” projection services if you are reasonably priced, service oriented and willing to do the work. Actually, doing projection gigs for a “reasonable” price, say $350 to $450 for a one-time showing, on site for 3 hours or less, will get you a good bit of business if you promote it right.
Nothing wrong, that I can see, in averaging $100 an hour for fairly easy work. Set up. Show. Pack up. Go! It’s over! Next!
If you have been in video production as a business for any length of time, attend church, are a member of your local Chamber of Commerce, Lions Club, Rotary, Kiwanis, etc., participate in your children(s) school events/activities, youth sports programs, or just enjoy a great social environment in your neighborhood, or on your block, you have the human resources available to start making money by offering projection services.
I constantly hear the argument that “everybody has it,” meaning projectors, large screens, etc. but that isn’t what I’m seeing in the real world. I have provided projection services for block parties, outdoor social events by groups and individuals, memorial montage showings at funeral homes, mortuaries, chapels and churches, school graduation, sports awards banquets and other events. Some of these venues even actually have some or all of the equipment, but they don’t always have access to it for one reason or another. Usually, and often it is simply “broke” or inoperable due to poor maintenance.
The key to successfully marketing your projection services is: “If you don’t ask, they can’t say ‘yes!’” If you do ask, not everybody is going to say, ‘no!’ And that’s not just dumb blah, blah, blah...
...it works, if you do. Gotta make the investment, make the effort, ask them, and tell everyone you know that you are doing it. Put it on your web site, feature it in your brochures, direct mail it to any good address you can lay your hands on.
“Good” addresses include anyone who has ever, ever used your video production services, bought a product or paid for your time, referred you to someone, offered you a drink, dinner out, or a reduced price on t-shirts from that defunct church fundraiser. If you are too embarrassed to pursue your available resources then, video AND PROJECTION, being service oriented business is probably not what you should be doing full time, part time, or in your spare time.
I currently have two relatively cheap ($800 or less) 1,200-to-1,500 lumen rated projectors and one Panasonic 2,000 lumen rated projector, VGA or S-VGA, without auto focus or auto keystone control, but totally serviceable for the vast majority of my gigs. Contrary to public opinion (public opinion sort of being like the ubiquitous “They” when people quote: “They say...”) most venues, projection times I service don’t mind lowering the lights if it will help.
My Panasonic works in pretty much anything but open sunshine, no shade, and I have been able to get by using it under carports, inside the garage, or under the backyard lattice cover with decent results. Sure, you can get brighter ones, if you want to spend the money. The key word here is “want” because you certainly do not have to.
I use a projector stand with screw-in legs that are adjustable to a variety of heights. This is covered with a black velvet drape material making it look a bit more professional than the spindly legs (especially at more formal venues such as wedding receptions and memorial services). There are carts as well, that do not require assembly and can be loaded and rolled into position. If you have the means for transporting this, it might help, but again it isn’t totally necessary. I can get my projector table up and covered with equipment in place before most of you would be able to unload your system from the vehicle and roll it into place.
I use a $28 player from WalMart for most of my gigs, and it works just fine, thank you. I purchased a 6x8 front projection screen, t-stand assembly, from ScreenWorks and have used it for nearly 10 years. Yes, it has a few patches here and there, and I’m about ready to put it into second place backup position soon as I purchase another one before the end of the year.
It has been my experience that front-projection, unless you invest in a projector that has an extremely short throw, will more often “work” in your average venue. Even with the 20-feet, or less, throw of my Panasonic, I get full 6x8 screen capacity. That’s workable.
There are dozens of places where you can shop for price and product, and just about that many affordable projectors out there for the taking. Check it out and get started making money even if you are not shooting or editing video today.
That can be easier said than done during the present economic state of the union, and your pocketbook. However, if you can manage $2,000 or less (often way less) to invest in a large screen, projector, table, skirt and a bit of marketing you can easily recoup your investment in 90 days or less.
All it would take would be four, maybe five gigs and you’re now into R.O.I. territory.
“Projection!” you might exclaim. Who is going to pay for projection services in today’s depressed economy when I cannot even get them to buy into wedding video production?
The short answer is: A lot of people will “buy into” projection services if you are reasonably priced, service oriented and willing to do the work. Actually, doing projection gigs for a “reasonable” price, say $350 to $450 for a one-time showing, on site for 3 hours or less, will get you a good bit of business if you promote it right.
Nothing wrong, that I can see, in averaging $100 an hour for fairly easy work. Set up. Show. Pack up. Go! It’s over! Next!
If you have been in video production as a business for any length of time, attend church, are a member of your local Chamber of Commerce, Lions Club, Rotary, Kiwanis, etc., participate in your children(s) school events/activities, youth sports programs, or just enjoy a great social environment in your neighborhood, or on your block, you have the human resources available to start making money by offering projection services.
I constantly hear the argument that “everybody has it,” meaning projectors, large screens, etc. but that isn’t what I’m seeing in the real world. I have provided projection services for block parties, outdoor social events by groups and individuals, memorial montage showings at funeral homes, mortuaries, chapels and churches, school graduation, sports awards banquets and other events. Some of these venues even actually have some or all of the equipment, but they don’t always have access to it for one reason or another. Usually, and often it is simply “broke” or inoperable due to poor maintenance.
The key to successfully marketing your projection services is: “If you don’t ask, they can’t say ‘yes!’” If you do ask, not everybody is going to say, ‘no!’ And that’s not just dumb blah, blah, blah...
...it works, if you do. Gotta make the investment, make the effort, ask them, and tell everyone you know that you are doing it. Put it on your web site, feature it in your brochures, direct mail it to any good address you can lay your hands on.
“Good” addresses include anyone who has ever, ever used your video production services, bought a product or paid for your time, referred you to someone, offered you a drink, dinner out, or a reduced price on t-shirts from that defunct church fundraiser. If you are too embarrassed to pursue your available resources then, video AND PROJECTION, being service oriented business is probably not what you should be doing full time, part time, or in your spare time.
I currently have two relatively cheap ($800 or less) 1,200-to-1,500 lumen rated projectors and one Panasonic 2,000 lumen rated projector, VGA or S-VGA, without auto focus or auto keystone control, but totally serviceable for the vast majority of my gigs. Contrary to public opinion (public opinion sort of being like the ubiquitous “They” when people quote: “They say...”) most venues, projection times I service don’t mind lowering the lights if it will help.
My Panasonic works in pretty much anything but open sunshine, no shade, and I have been able to get by using it under carports, inside the garage, or under the backyard lattice cover with decent results. Sure, you can get brighter ones, if you want to spend the money. The key word here is “want” because you certainly do not have to.
I use a projector stand with screw-in legs that are adjustable to a variety of heights. This is covered with a black velvet drape material making it look a bit more professional than the spindly legs (especially at more formal venues such as wedding receptions and memorial services). There are carts as well, that do not require assembly and can be loaded and rolled into position. If you have the means for transporting this, it might help, but again it isn’t totally necessary. I can get my projector table up and covered with equipment in place before most of you would be able to unload your system from the vehicle and roll it into place.
I use a $28 player from WalMart for most of my gigs, and it works just fine, thank you. I purchased a 6x8 front projection screen, t-stand assembly, from ScreenWorks and have used it for nearly 10 years. Yes, it has a few patches here and there, and I’m about ready to put it into second place backup position soon as I purchase another one before the end of the year.
It has been my experience that front-projection, unless you invest in a projector that has an extremely short throw, will more often “work” in your average venue. Even with the 20-feet, or less, throw of my Panasonic, I get full 6x8 screen capacity. That’s workable.
There are dozens of places where you can shop for price and product, and just about that many affordable projectors out there for the taking. Check it out and get started making money even if you are not shooting or editing video today.
Monday, October 06, 2008
Videotaping Funerals
Funerals are not for everybody. “Ewwww, videotaping dead people and infringing on the privacy of mourning loved ones.” While that may be the general reaction, it certainly isn’t so.
This may not be for everybody in the Independent Professional Video Services provider arena - wedding and event video producers working part- or full-time. It is, however, one of the most under-served potential event video production markets on the planet.
I recently had a friend on the East Coast tell me that she had “never heard of such,” adding that it must be a “West Coast thing.” Maybe.
I don’t know about the other side of the Mississippi, but I do know I have videotaped and edited funerals, created and projected memorial montages in Texas, Oklahoma, Arkansas, Louisiana, New Mexico, Arizona, Colorado, Nevada and Utah, as well as California.
I have created basic memorial photo/music montages for clients all over the U.S.A., including the above states, and Florida, South Carolina, Maryland and Ohio - by mail using USPS Priority.
Granted insurance doesn’t do a thing to replace lost or damaged original photos, if that happens. I have to say that before there were digital formats and jpeg photo CDs the risk was greater, but with the hundreds I’ve produced over the past decade or longer, the Post Office has lost or mis-delivered nary a one.
Interesting enough, deviating from this article, I have had bills, payments, checks lost or dropped off at the wrong addresses, and an equipment order I once made was delivered to Colorado Mining Company before making its way to me...
...eventually. This is over a 40+ years span, mind you, so the percentages are quite low.
They’ve done well by me and my clients.
Churches, funeral homes, mortuaries, cemetery associations and even an ad published on the obits page of your local newspaper, are excellent resources for offering this service. While many large churches, and many of the larger funeral homes usually have audio/video, the vast majority do not. Often those that do provide inadequate equipment, and impersonal service. At funeral homes, especially, they rarely have someone who is well-trained in operating or maintaining their audio/visual equipment.
Quite frequently, even the montages these folks produce are not of a professional quality. It is usually generated by a point-and-click program, limited in scope and selection, length, time to create, and often put together by a minimum wage assistant who has plenty of other responsibilities to overpower her creative focus. Few facilities or their employees are dedicated enough to compete with what you are capable of producing, able to offer.
Putting together a montage, as we all know, can range from simple to complex, but simple is the direction I’ve taken to both get this business and get the projects done within the 24-hour turnaround I promise...
...and have managed to maintain for a long, long time. I have hundreds of satisfied clients. Not one has complained about the quality, or lack thereof, of a single, solitary memorial montage.
Creating montages, frequently within a day of receiving the materials; providing projection service as well, and offering videotaping and editing of funeral and memorial events does require a major commitment. I occasionally have to put in an all-night session in order to deliver as promised.
Over time, however, the over night express has slowed down and many of our family client counselors now give us advance notice, knowing they can depend on us to deliver. Over the years they have become convinced that we are serious about not letting them down. We’ve earned their trust.
Money isn’t huge, but over time it can be. Other than churches, most of the other resources want pricing at a level where they can tag on a percentage and provide this as a value added service. The upside to this is that eventually you’ll get to increase your prices, bring in extra orders for copies, even book other events from people who are impressed with both your work and your presence. Many other potential business sources have come my way through this area of video production.
It all started with a one-page cover letter, backed by a full-length 8-to-15-minute (100-to-150 image) demo with 3 songs, opening/closing title and packaged in a full-color case/insert, with matching graphics on the DVD. And a promise/commitment to “Be there, on call, 24/7, or have somebody who can be.”
Mail these to every church, and all the other resources I mentioned earlier, within your service area. If you do not hear from them, mail the ones who did not respond again within 90 days, then, if you are serious about pursuing this, follow those non-respondents up with a phone call within two weeks after the second mailing.
Even in rural areas throughout the U.S.A. there are literally hundreds of churches, cemeteries as well, where funeral and memorial services are held. Pretty much every state has a Bible belt somewhere, and believe me when I say cemeteries are just about as numerous.
Follow up, follow through and make it happen, and you will soon have all the funeral and memorial business you can handle. Unless, of course, you want to pay and train others so you can provide multiple services at multiple locations and different times of the day. It’s up to you, but if you want this kind of business it is certainly a wide-open area for growth, income and company name recognition.
There are a practical set of things that can and/or should be done when videotaping/editing a funeral, or creating/projecting a memorial montage. That is a subject worthy of follow-up if anyone responds further to this article.
Click on the title at the top of this article to see a one-page web site promotion of this business.
This may not be for everybody in the Independent Professional Video Services provider arena - wedding and event video producers working part- or full-time. It is, however, one of the most under-served potential event video production markets on the planet.
I recently had a friend on the East Coast tell me that she had “never heard of such,” adding that it must be a “West Coast thing.” Maybe.
I don’t know about the other side of the Mississippi, but I do know I have videotaped and edited funerals, created and projected memorial montages in Texas, Oklahoma, Arkansas, Louisiana, New Mexico, Arizona, Colorado, Nevada and Utah, as well as California.
I have created basic memorial photo/music montages for clients all over the U.S.A., including the above states, and Florida, South Carolina, Maryland and Ohio - by mail using USPS Priority.
Granted insurance doesn’t do a thing to replace lost or damaged original photos, if that happens. I have to say that before there were digital formats and jpeg photo CDs the risk was greater, but with the hundreds I’ve produced over the past decade or longer, the Post Office has lost or mis-delivered nary a one.
Interesting enough, deviating from this article, I have had bills, payments, checks lost or dropped off at the wrong addresses, and an equipment order I once made was delivered to Colorado Mining Company before making its way to me...
...eventually. This is over a 40+ years span, mind you, so the percentages are quite low.
They’ve done well by me and my clients.
Churches, funeral homes, mortuaries, cemetery associations and even an ad published on the obits page of your local newspaper, are excellent resources for offering this service. While many large churches, and many of the larger funeral homes usually have audio/video, the vast majority do not. Often those that do provide inadequate equipment, and impersonal service. At funeral homes, especially, they rarely have someone who is well-trained in operating or maintaining their audio/visual equipment.
Quite frequently, even the montages these folks produce are not of a professional quality. It is usually generated by a point-and-click program, limited in scope and selection, length, time to create, and often put together by a minimum wage assistant who has plenty of other responsibilities to overpower her creative focus. Few facilities or their employees are dedicated enough to compete with what you are capable of producing, able to offer.
Putting together a montage, as we all know, can range from simple to complex, but simple is the direction I’ve taken to both get this business and get the projects done within the 24-hour turnaround I promise...
...and have managed to maintain for a long, long time. I have hundreds of satisfied clients. Not one has complained about the quality, or lack thereof, of a single, solitary memorial montage.
Creating montages, frequently within a day of receiving the materials; providing projection service as well, and offering videotaping and editing of funeral and memorial events does require a major commitment. I occasionally have to put in an all-night session in order to deliver as promised.
Over time, however, the over night express has slowed down and many of our family client counselors now give us advance notice, knowing they can depend on us to deliver. Over the years they have become convinced that we are serious about not letting them down. We’ve earned their trust.
Money isn’t huge, but over time it can be. Other than churches, most of the other resources want pricing at a level where they can tag on a percentage and provide this as a value added service. The upside to this is that eventually you’ll get to increase your prices, bring in extra orders for copies, even book other events from people who are impressed with both your work and your presence. Many other potential business sources have come my way through this area of video production.
It all started with a one-page cover letter, backed by a full-length 8-to-15-minute (100-to-150 image) demo with 3 songs, opening/closing title and packaged in a full-color case/insert, with matching graphics on the DVD. And a promise/commitment to “Be there, on call, 24/7, or have somebody who can be.”
Mail these to every church, and all the other resources I mentioned earlier, within your service area. If you do not hear from them, mail the ones who did not respond again within 90 days, then, if you are serious about pursuing this, follow those non-respondents up with a phone call within two weeks after the second mailing.
Even in rural areas throughout the U.S.A. there are literally hundreds of churches, cemeteries as well, where funeral and memorial services are held. Pretty much every state has a Bible belt somewhere, and believe me when I say cemeteries are just about as numerous.
Follow up, follow through and make it happen, and you will soon have all the funeral and memorial business you can handle. Unless, of course, you want to pay and train others so you can provide multiple services at multiple locations and different times of the day. It’s up to you, but if you want this kind of business it is certainly a wide-open area for growth, income and company name recognition.
There are a practical set of things that can and/or should be done when videotaping/editing a funeral, or creating/projecting a memorial montage. That is a subject worthy of follow-up if anyone responds further to this article.
Click on the title at the top of this article to see a one-page web site promotion of this business.
Saturday, October 04, 2008
Will Blog for Money
I will get back to the promised topic for the remaining quarter of this year regarding ways to develop your video business beyond focusing exclusively on wedding video production, but...
...I have got to share with you this article (click on title for link) about blogging. Naysayers be warned, there ARE ways to make your blog do something other than reveal your innermost dark secrets, stupid mistakes and desires - like sharing your personal diary or journal with the world.
Blogging for Dollars: How Do Bloggers Make Money by Michael Agger, is an interesting read, full of great links.
...I have got to share with you this article (click on title for link) about blogging. Naysayers be warned, there ARE ways to make your blog do something other than reveal your innermost dark secrets, stupid mistakes and desires - like sharing your personal diary or journal with the world.
Blogging for Dollars: How Do Bloggers Make Money by Michael Agger, is an interesting read, full of great links.
Wednesday, October 01, 2008
Need More Business?
Even with a downturn in world economics people will continue to invest in memories. What better way than to have special events professionally videotaped? People still celebrate life, and can still be convinced that they will better enjoy a professional quality production over home video. Of course we, as a professional service industry, need to find the sweet spot between price and product for them, as well as us.
And, we need to find the clients.
In their single mindedness wedding video producers, part time or full time, often overlook other options - many of these business options result in a higher level of income on an hourly basis than any wedding video they have ever produced. Yet, for whatever reasons, they continue to pursue only wedding video production business.
Most professional video service providers already know, or are aware of the possibilities. Many, however, simply are not motivated to pursue them. In a series of ongoing posts during the remaining quarter of 2008, I will focus on areas of potential. I will not only tell how to do them, but where to go to find them, bringing more business than you can handle.
This article will simply list a few of them.
1.) Funerals
2.) Memorial montages
3.) Projection services
4.) Video greeting cards
5.) Video-to-DVD transfers
6.) Dance recitals
7.) School plays
8.) Sports events
9.) Paparazzi parties
10.) Pet video biographies
11.) A Day in the Life videos
There are more, but these are enough for now.
And, we need to find the clients.
In their single mindedness wedding video producers, part time or full time, often overlook other options - many of these business options result in a higher level of income on an hourly basis than any wedding video they have ever produced. Yet, for whatever reasons, they continue to pursue only wedding video production business.
Most professional video service providers already know, or are aware of the possibilities. Many, however, simply are not motivated to pursue them. In a series of ongoing posts during the remaining quarter of 2008, I will focus on areas of potential. I will not only tell how to do them, but where to go to find them, bringing more business than you can handle.
This article will simply list a few of them.
1.) Funerals
2.) Memorial montages
3.) Projection services
4.) Video greeting cards
5.) Video-to-DVD transfers
6.) Dance recitals
7.) School plays
8.) Sports events
9.) Paparazzi parties
10.) Pet video biographies
11.) A Day in the Life videos
There are more, but these are enough for now.
Monday, September 29, 2008
Fast Delivery Key to Success
Delivering your wedding video productions in less than 90 days, preferably 30 days, is key to establishing a successful referral-based business. One that will withstand most negative economic elements, and reduce the investment of time, energy and money necessary to otherwise promote your business.
Tighter delivery schedules will also provide additional time for follow-up on the smaller (and larger) details of the business: establishment of aggressive marketing strategies, implementation of a solid referral system, and even a bit of free time for personal relaxation - all contributing to a quality professional and personal lifestyle for the independent video services provider.
I have had many debates industry-wide with wedding video producers who disagree with my assessment that delivering their clients wedding videos in a “timely” manner means 90 days or less, not eight months or longer.
Some will argue that it takes nearly a year to create and deliver a quality product. Others admit that they put in, maybe, 40 hours of editing, but that their volume is so high they cannot finish and deliver in one week, but spread that 40 hours of editing over an 8-month (or longer) period.
I suspect the vast majority of long delivery time proponents, whatever their reasons, are simply insecure or lazy in their approach, and use excessive delivery times as a cushion against the pressure, tension and anxiety brought on by shortened (tighter) production schedules.
Many will say that the client is willing to wait for her production because she will be receiving a better quality video. That is simply not true. Clients are not “willing” to wait, they wait because they have to - this “reality” forced upon them by people in the industry who do not want to commit themselves to a higher, or more efficient, work ethic.
Time only equals quality if the time taken is actually invested into the effort to generate that quality.
Sitting on a shelf for eight months cannot and will not improve the quality of your wedding video production. In fact, time can work against you when the project is finally pulled down and work is started knowing that the bride will soon be calling - inquiring about how soon she might anticipate delivery. Things that could have been done to improve the production quality sometimes are not done simply because there now exists a crunch to get it done, and the rush to finish results in the same argument against early delivery. What?
You know, the argument that moving too quickly through the post editing process goes against creation of a quality video. The argument that “rushing” the process is equivalent to trashing the production. What can be the difference? Well, one argument for getting into the post editing process sooner rather than later is that some of the elements of the shoot will still be fresh on your mind.
Waiting eight months before even beginning to review the footage in preparation for editing, or even if it was previewed earlier, results in lost time. Time spent in refreshing your memory. Time spent familiarizing yourself with an event, and client, whom you can barely recall. Time spent trying to remember where you placed the notes taken, if any, during your interview process - where you learned something about the client's likes, preferences, and dislikes.
Many in this industry overbook, taking on more business than they can handle in a reasonable time frame. They become backlogged and are not willing to do what it takes to overcome that backlog - outsource their productions to get them done and delivered, or simply cut back the number of bookings to a level they can handle.
They could, of course, also raise their prices or reduce the amount of production involved. Both steps can effectively bring booking, production and delivery numbers in line with the video producer's capabilities.
Whatever your current position on wedding video production delivery times consider this: a bride who receives her video while the event is fresh, while memories of the honeymoon remain vivid, while office, family and social discussions still focus on elements of the celebration, while emotions still rage and before the realities of life muddy the magic, will share her experience with enthusiasm.
If her video is barely delivered before her first anniversary, perhaps with a family addition on the way, after the bills have been sweated out (maybe), work intrudes and there’s been no time to even take a vacation or maintain the social structure that existed a year earlier, anticipation has waned - receiving her wedding video will be at best anticlimactic. At worst, a major disappointment.
Timely delivery - while it’s hot - means the bride’s video is shared with more people, talked about with more enthusiasm, reviewed with more excitement, and accepted with a higher level of perceived value. This leads to referrals, and more of them, than will ever occur a year after the fact.
There is an argument for extended delivery schedules. It is best presented by businesses that establish their productions, and their Master quality videos on the basis that time equals exceptional quality, and prices accordingly.
For everyone else there is faster delivery.
Tighter delivery schedules will also provide additional time for follow-up on the smaller (and larger) details of the business: establishment of aggressive marketing strategies, implementation of a solid referral system, and even a bit of free time for personal relaxation - all contributing to a quality professional and personal lifestyle for the independent video services provider.
I have had many debates industry-wide with wedding video producers who disagree with my assessment that delivering their clients wedding videos in a “timely” manner means 90 days or less, not eight months or longer.
Some will argue that it takes nearly a year to create and deliver a quality product. Others admit that they put in, maybe, 40 hours of editing, but that their volume is so high they cannot finish and deliver in one week, but spread that 40 hours of editing over an 8-month (or longer) period.
I suspect the vast majority of long delivery time proponents, whatever their reasons, are simply insecure or lazy in their approach, and use excessive delivery times as a cushion against the pressure, tension and anxiety brought on by shortened (tighter) production schedules.
Many will say that the client is willing to wait for her production because she will be receiving a better quality video. That is simply not true. Clients are not “willing” to wait, they wait because they have to - this “reality” forced upon them by people in the industry who do not want to commit themselves to a higher, or more efficient, work ethic.
Time only equals quality if the time taken is actually invested into the effort to generate that quality.
Sitting on a shelf for eight months cannot and will not improve the quality of your wedding video production. In fact, time can work against you when the project is finally pulled down and work is started knowing that the bride will soon be calling - inquiring about how soon she might anticipate delivery. Things that could have been done to improve the production quality sometimes are not done simply because there now exists a crunch to get it done, and the rush to finish results in the same argument against early delivery. What?
You know, the argument that moving too quickly through the post editing process goes against creation of a quality video. The argument that “rushing” the process is equivalent to trashing the production. What can be the difference? Well, one argument for getting into the post editing process sooner rather than later is that some of the elements of the shoot will still be fresh on your mind.
Waiting eight months before even beginning to review the footage in preparation for editing, or even if it was previewed earlier, results in lost time. Time spent in refreshing your memory. Time spent familiarizing yourself with an event, and client, whom you can barely recall. Time spent trying to remember where you placed the notes taken, if any, during your interview process - where you learned something about the client's likes, preferences, and dislikes.
Many in this industry overbook, taking on more business than they can handle in a reasonable time frame. They become backlogged and are not willing to do what it takes to overcome that backlog - outsource their productions to get them done and delivered, or simply cut back the number of bookings to a level they can handle.
They could, of course, also raise their prices or reduce the amount of production involved. Both steps can effectively bring booking, production and delivery numbers in line with the video producer's capabilities.
Whatever your current position on wedding video production delivery times consider this: a bride who receives her video while the event is fresh, while memories of the honeymoon remain vivid, while office, family and social discussions still focus on elements of the celebration, while emotions still rage and before the realities of life muddy the magic, will share her experience with enthusiasm.
If her video is barely delivered before her first anniversary, perhaps with a family addition on the way, after the bills have been sweated out (maybe), work intrudes and there’s been no time to even take a vacation or maintain the social structure that existed a year earlier, anticipation has waned - receiving her wedding video will be at best anticlimactic. At worst, a major disappointment.
Timely delivery - while it’s hot - means the bride’s video is shared with more people, talked about with more enthusiasm, reviewed with more excitement, and accepted with a higher level of perceived value. This leads to referrals, and more of them, than will ever occur a year after the fact.
There is an argument for extended delivery schedules. It is best presented by businesses that establish their productions, and their Master quality videos on the basis that time equals exceptional quality, and prices accordingly.
For everyone else there is faster delivery.
Saturday, May 10, 2008
Do You Follow Up?
Do you follow up with prospective clients? Multiple Times? After missing a scheduled appointment or not returning initial calls?
Those who contacted you first, or those YOU initiate - either, any or all?
Does this sometimes worry you, making you think you come off desperate? Unprofessional?
I absolutely follow up multiple times. I believe there's a way to do this that is professional, courteous and effective. I believe people, here in the states anyway are, if not receptive, certainly accustomed to repetitive marketing communication.
First - if THEY called YOU (OK, if THEY called ME, I tell myself: "...they're interested, or they wouldn't have contacted me..."). If they made an appointment, whatever, or if they voluntarily provided you with information including call-back/contact info, you have every right to suspect they ARE interested until they specifically say NO, don't bother me again!
Second - while many of us (me included) get aggravated after a few calls or junk mail, or spam or e-mail "blasts" (another word for spam, like saying "steak" instead of asking for a hunk of dead meat..."), there is still another side of many of us who appreciate straight-forward, professional, courteous information - especially from sources WE contacted at some point in time.
Third - it has been my experience that while people DO call or contact, or buy, on impulse, and then sometimes abandon the impulse wishing they'd never done it, what really happens is they get busy with the day-to-day living of life. Stuff happens - flat tires, sick parents, job firings, houses burn, groceries to purchase, bills to pay, shopping to do, that new movie is released...
...you get the idea.
When "things" happen, they get in the way of follow-through, YOURS or THEIRS, and people aren't always avoiding you because they regret initiating the original contact.
It is OUR responsibility to follow through, up to a point, for as long as it takes to get a yes or no. We're not being desperate or begging, we're simply being professional business people for whom EVERY potential client, inquiry or contact is a major and important part of the reality of our business - of DOING business with the public.
I think that using professional decorum in making repeated efforts to connect with inquiring potential clients goes a long way toward establishing that that person, his or her business, IS important enough to us to follow through until either of us has opted out. Well, at least three-to-five times anyway.
My usual approach after contact has been initiated, one way or another, by the potential client, is:
• I comply with or answer their immediate questions/request; reschedule the appointment...
• I follow up with an e-mail, or snail-mail card, thanking them for their interest, include the demo DVD if requested, and some general information also easily found on my web site, and I say so. I also note that I will "be in touch with them" in a "few" days to see if they have any other questions or concerns; or to reschedule the appointment...
• I call in a few days. If I get a message machine I leave a brief message identifying me, reminding them of their interest in my services, and tell them they are welcome to call me or I will try again the next day at a (later, or earlier) time. I invite them to e-mail me if they do not have time to call and talk.
• If they answer, I quickly identify myself, saying that I'm returning their call, and ask if they've received the requested information. Depending on how THAT conversation goes, I go away...
...or not.
Usually, they will tell you to go away, or continue to dance, or make a positive decision, apologizing for not having gotten back sooner... "those groceries, the house, that movie..." Then you have your answer.
But, what if they don't sign on, tell you off, or just say no?
• I tell them I'm booking consistently, courteously advise them that early booking with retainer is the ONLY guarantee of acquiring my services, and ask if they want to receive a "first dibs" call in the event another inquiry for their date comes in. Yes, I do this, and I see no reason why not.
When all else fails, and I've not yet received a specific NO response, about a month before the date, provided I've not noticed any other interest in the date, period, I'll e-mail AND follow up with a second coming letter, advising that this is their last chance to book.
I ask if they have any other questions or concerns that I've not addressed, then advise them that I will no longer "bother" them if the silence continues.
If I really want this, and have an incentive I'm willing to place on the table, I'll mention that as well.
I end by wishing them much luck, happiness and many returns on their upcoming special date.
I usually throw in that I provide video production services for ALL celebrations of life, then I finally go away.
IMHO, and not indicting those who don't, we as professionals do a disservice by not following up.
I think that people often simply get busy and other priorities (real or imagined) sometimes get in the way of taking decisive action.
Maybe the inquiring bride-to-be gained 10 pounds and finds that a dress alteration is required - possibly serious enough to cancel or postpone the wedding who knows what goes on in people's minds in any 24-hour period?
I also believe that human nature dictates that we follow up, follow through, with every inquiring potential client. I believe we leave stuff on the table for others to pick up easily, simply because they were/are more persistent, professional, courteous and helpful in their follow up strategy.
Does this sometimes worry you, making you think you come off desperate? Unprofessional?
I absolutely follow up multiple times. I believe there's a way to do this that is professional, courteous and effective. I believe people, here in the states anyway are, if not receptive, certainly accustomed to repetitive marketing communication.
First - if THEY called YOU (OK, if THEY called ME, I tell myself: "...they're interested, or they wouldn't have contacted me..."). If they made an appointment, whatever, or if they voluntarily provided you with information including call-back/contact info, you have every right to suspect they ARE interested until they specifically say NO, don't bother me again!
Second - while many of us (me included) get aggravated after a few calls or junk mail, or spam or e-mail "blasts" (another word for spam, like saying "steak" instead of asking for a hunk of dead meat..."), there is still another side of many of us who appreciate straight-forward, professional, courteous information - especially from sources WE contacted at some point in time.
Third - it has been my experience that while people DO call or contact, or buy, on impulse, and then sometimes abandon the impulse wishing they'd never done it, what really happens is they get busy with the day-to-day living of life. Stuff happens - flat tires, sick parents, job firings, houses burn, groceries to purchase, bills to pay, shopping to do, that new movie is released...
...you get the idea.
When "things" happen, they get in the way of follow-through, YOURS or THEIRS, and people aren't always avoiding you because they regret initiating the original contact.
It is OUR responsibility to follow through, up to a point, for as long as it takes to get a yes or no. We're not being desperate or begging, we're simply being professional business people for whom EVERY potential client, inquiry or contact is a major and important part of the reality of our business - of DOING business with the public.
I think that using professional decorum in making repeated efforts to connect with inquiring potential clients goes a long way toward establishing that that person, his or her business, IS important enough to us to follow through until either of us has opted out. Well, at least three-to-five times anyway.
My usual approach after contact has been initiated, one way or another, by the potential client, is:
• I comply with or answer their immediate questions/request; reschedule the appointment...
• I follow up with an e-mail, or snail-mail card, thanking them for their interest, include the demo DVD if requested, and some general information also easily found on my web site, and I say so. I also note that I will "be in touch with them" in a "few" days to see if they have any other questions or concerns; or to reschedule the appointment...
• I call in a few days. If I get a message machine I leave a brief message identifying me, reminding them of their interest in my services, and tell them they are welcome to call me or I will try again the next day at a (later, or earlier) time. I invite them to e-mail me if they do not have time to call and talk.
• If they answer, I quickly identify myself, saying that I'm returning their call, and ask if they've received the requested information. Depending on how THAT conversation goes, I go away...
...or not.
Usually, they will tell you to go away, or continue to dance, or make a positive decision, apologizing for not having gotten back sooner... "those groceries, the house, that movie..." Then you have your answer.
But, what if they don't sign on, tell you off, or just say no?
• I tell them I'm booking consistently, courteously advise them that early booking with retainer is the ONLY guarantee of acquiring my services, and ask if they want to receive a "first dibs" call in the event another inquiry for their date comes in. Yes, I do this, and I see no reason why not.
When all else fails, and I've not yet received a specific NO response, about a month before the date, provided I've not noticed any other interest in the date, period, I'll e-mail AND follow up with a second coming letter, advising that this is their last chance to book.
I ask if they have any other questions or concerns that I've not addressed, then advise them that I will no longer "bother" them if the silence continues.
If I really want this, and have an incentive I'm willing to place on the table, I'll mention that as well.
I end by wishing them much luck, happiness and many returns on their upcoming special date.
I usually throw in that I provide video production services for ALL celebrations of life, then I finally go away.
IMHO, and not indicting those who don't, we as professionals do a disservice by not following up.
I think that people often simply get busy and other priorities (real or imagined) sometimes get in the way of taking decisive action.
Maybe the inquiring bride-to-be gained 10 pounds and finds that a dress alteration is required - possibly serious enough to cancel or postpone the wedding who knows what goes on in people's minds in any 24-hour period?
I also believe that human nature dictates that we follow up, follow through, with every inquiring potential client. I believe we leave stuff on the table for others to pick up easily, simply because they were/are more persistent, professional, courteous and helpful in their follow up strategy.
Sunday, September 23, 2007
Find the perfect video producer
Earl Chessher, owner of California Wedding Cinema, offers points that help tomorrow's brides and grooms pick the right independent video production services provider for their wedding event. Avoid common mistakes by using the following information when selecting your wedding video producer.
(Huntington Beach, CA) September 22, 2007 -- Amateur wedding video producers enter this business daily, making it even more difficult for the discerning bride and groom to wade through the crowd in an effort to find the right professional for their wedding day.
The number one reason for getting stuck with a poor quality wedding video is not taking the time to properly screen your prospects. Screening on price alone can often generate a field of inexperienced players. you do not want to invest in a beginner video producer's education when your special day calls for a great video production.
Or, if you do make your selection based on price vs experience, at least be aware of the potential difference in quality you might have to accept. In all fairness there are amateurs and beginners who give a great production for the money, but that makes your screening process all the more important to ensure finding the diamond among them.
In many cases this is your first wedding planning experience. you are entering a world of mixed signals, overstated claims and unsure consequences. Referrals help, and so does research to identify vendors conveniently available to you. But you still must make the time to screen your prospects.
Key elements to consider, in addition to price and experience, when interviewing a prospective wedding video producer are how she approaches lighting, sound and overall production. You also want to be comfortable with the person who videotapes your wedding day, so during your screening, make sure you will meet and talk with that person.
These are your first steps in finding the right service provider. But what about while you are trying to narrow the field from the hundreds of potential producers that show up in your web search?
Stick with these points during your first cut: Presentation, price and product. Is the web site easy to follow? Are critical contact information, complete "about us" facts including experience, some idea of general pricing, and sample clips available?
The following tips will not always save you a bundle of money, but certainly will save you a bundle of grief.
Tip No. 1 - go beyond web site sample clips and the demo reel.
Those just getting started in the business may not have clips, or even a demo reel, but they should at least be able to provide you with a copy of a complete wedding video production they've produced, even if it was their first or only production. If she is reluctant to share something with you that represents her price vs quality position, move on to the next one.
While flashy demo DVDs are potentially a good way to judge a wedding video producer's general approach to videotaping, and creative style, always demand a full wedding production just as it was delivered to the client. It takes time, and you certainly do not want to spend hours upon hours watching complete weddings, but viewing enough to get a solid appreciation for the producer's work is important.
If experience is more important to you than pricing, within reason, then the quality of the actual wedding production will bear this out.
Tip No. 2 - go beyond getting referrals.
It is imperative that you get names and contact information of previous clients. Get at least three. I personally recommend five.
AND CALL THEM!
Any reluctance or hesitation to provide referrals, move on to the next prospect. And, when you call them you want to ask two specific questions if you ask nothing else: Are you happy with your production? How long did it take for you to receive it? Anything beyond 90 days is unacceptable.
Tip No. 3 - see Tip No. 1
Many, many independent wedding and event video services providers talk about broadcast experience, working television or cable production. That experience can be a solid factor supporting the quality and professional level of their work.
In and of itself, however, it may not be enough. While you might be impressed with long lists of awards, columns of corporate and business names you might recognize on the posted client list, and the fact that your prospect has a fleet of Humvees with blazing sign work on the side, you STILL need to view something that represents her wedding video production work. This is why I said see Tip No. 1.
Tip. No. 4 - after you have decided that experience, satisfactory full production quality and several good referrals take priority over price, toss out any service provider on your list whose highest priced package is less than $1,000!
What?
That's right! Use the same valuation you found acceptable for your photographer! Again, while there are exceptions, you will have to look long and hard to find a producer who can give you the professional quality, assurance of experience and an acceptable product delivery time for such a low price. When she is often doing video as a side business, holding down another job, and struggling just to deliver her inexpensive videos, it is virtually impossible for this person to compete against the full time seasoned pro.
Again, if price takes precedence then be prepared to look long and hard until you find a low budget producer who meets minimum standards for quality wedding video production.
Tip No. 5 - unless you are absolutely positive you want to take the risk, make sure this one is a RULE and not just a "tip." ONLY continue the screening process with a potential service provider if she can show you a full wedding production that is less than a year old. If you settle for price without some proof/guarantee that your prospect even knows what a wedding is like, you will not be happy with your video!
Tip 6 - take it all into consideration.
Product, Professionalism, Personality, Price and Enthusiasm! Anything less is represented, move on to the next prospect. Just so you know, Robert Gordman, president of The Gordman Group, and author of best seller, "The Must-Have Customer: 7 Steps to Winning the Customer You Haven't Got," in an article in Wedding & Event Videography Resource Guide, said:
"Another way (for a video company to gain customers) is to become known as the company to go to every time you need a video."
He further suggests that video companies offering a diversity of products and services may be well-equipped to offer experienced professional service.
Tip No. 7 - Keep in mind that numerous surveys conducted by participants in the bridal industry note that brides who do not have a video production of their wedding regret it after the fact. Use proper and informed active screening to identify the kind of professional wedding and event video services provider you want, and hire her today!
Earl Chessher is president of California Wedding Cinema, providing professional wedding and event production services for hundreds of discerning brides for more than 15 years. He has been involved with the preservation of family events, history, stories and weddings in photographs, publication and video production for more than 30 years. For more information on this award winning video producer, go to www.californiaweddingcinema.com; or www.corelann.com.
(Huntington Beach, CA) September 22, 2007 -- Amateur wedding video producers enter this business daily, making it even more difficult for the discerning bride and groom to wade through the crowd in an effort to find the right professional for their wedding day.
The number one reason for getting stuck with a poor quality wedding video is not taking the time to properly screen your prospects. Screening on price alone can often generate a field of inexperienced players. you do not want to invest in a beginner video producer's education when your special day calls for a great video production.
Or, if you do make your selection based on price vs experience, at least be aware of the potential difference in quality you might have to accept. In all fairness there are amateurs and beginners who give a great production for the money, but that makes your screening process all the more important to ensure finding the diamond among them.
In many cases this is your first wedding planning experience. you are entering a world of mixed signals, overstated claims and unsure consequences. Referrals help, and so does research to identify vendors conveniently available to you. But you still must make the time to screen your prospects.
Key elements to consider, in addition to price and experience, when interviewing a prospective wedding video producer are how she approaches lighting, sound and overall production. You also want to be comfortable with the person who videotapes your wedding day, so during your screening, make sure you will meet and talk with that person.
These are your first steps in finding the right service provider. But what about while you are trying to narrow the field from the hundreds of potential producers that show up in your web search?
Stick with these points during your first cut: Presentation, price and product. Is the web site easy to follow? Are critical contact information, complete "about us" facts including experience, some idea of general pricing, and sample clips available?
The following tips will not always save you a bundle of money, but certainly will save you a bundle of grief.
Tip No. 1 - go beyond web site sample clips and the demo reel.
Those just getting started in the business may not have clips, or even a demo reel, but they should at least be able to provide you with a copy of a complete wedding video production they've produced, even if it was their first or only production. If she is reluctant to share something with you that represents her price vs quality position, move on to the next one.
While flashy demo DVDs are potentially a good way to judge a wedding video producer's general approach to videotaping, and creative style, always demand a full wedding production just as it was delivered to the client. It takes time, and you certainly do not want to spend hours upon hours watching complete weddings, but viewing enough to get a solid appreciation for the producer's work is important.
If experience is more important to you than pricing, within reason, then the quality of the actual wedding production will bear this out.
Tip No. 2 - go beyond getting referrals.
It is imperative that you get names and contact information of previous clients. Get at least three. I personally recommend five.
AND CALL THEM!
Any reluctance or hesitation to provide referrals, move on to the next prospect. And, when you call them you want to ask two specific questions if you ask nothing else: Are you happy with your production? How long did it take for you to receive it? Anything beyond 90 days is unacceptable.
Tip No. 3 - see Tip No. 1
Many, many independent wedding and event video services providers talk about broadcast experience, working television or cable production. That experience can be a solid factor supporting the quality and professional level of their work.
In and of itself, however, it may not be enough. While you might be impressed with long lists of awards, columns of corporate and business names you might recognize on the posted client list, and the fact that your prospect has a fleet of Humvees with blazing sign work on the side, you STILL need to view something that represents her wedding video production work. This is why I said see Tip No. 1.
Tip. No. 4 - after you have decided that experience, satisfactory full production quality and several good referrals take priority over price, toss out any service provider on your list whose highest priced package is less than $1,000!
What?
That's right! Use the same valuation you found acceptable for your photographer! Again, while there are exceptions, you will have to look long and hard to find a producer who can give you the professional quality, assurance of experience and an acceptable product delivery time for such a low price. When she is often doing video as a side business, holding down another job, and struggling just to deliver her inexpensive videos, it is virtually impossible for this person to compete against the full time seasoned pro.
Again, if price takes precedence then be prepared to look long and hard until you find a low budget producer who meets minimum standards for quality wedding video production.
Tip No. 5 - unless you are absolutely positive you want to take the risk, make sure this one is a RULE and not just a "tip." ONLY continue the screening process with a potential service provider if she can show you a full wedding production that is less than a year old. If you settle for price without some proof/guarantee that your prospect even knows what a wedding is like, you will not be happy with your video!
Tip 6 - take it all into consideration.
Product, Professionalism, Personality, Price and Enthusiasm! Anything less is represented, move on to the next prospect. Just so you know, Robert Gordman, president of The Gordman Group, and author of best seller, "The Must-Have Customer: 7 Steps to Winning the Customer You Haven't Got," in an article in Wedding & Event Videography Resource Guide, said:
"Another way (for a video company to gain customers) is to become known as the company to go to every time you need a video."
He further suggests that video companies offering a diversity of products and services may be well-equipped to offer experienced professional service.
Tip No. 7 - Keep in mind that numerous surveys conducted by participants in the bridal industry note that brides who do not have a video production of their wedding regret it after the fact. Use proper and informed active screening to identify the kind of professional wedding and event video services provider you want, and hire her today!
Earl Chessher is president of California Wedding Cinema, providing professional wedding and event production services for hundreds of discerning brides for more than 15 years. He has been involved with the preservation of family events, history, stories and weddings in photographs, publication and video production for more than 30 years. For more information on this award winning video producer, go to www.californiaweddingcinema.com; or www.corelann.com.
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