How I Produce Funeral Videos

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Study Your Resources, the Competition

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reader Asks: SD or HD?

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

Hi Earl,

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

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

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

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

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

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

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

Any advice you can give would be GREATLY appreciated!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Good luck, and my regards.

Bad News is Good News!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

DVD "Letters" for Cash Flow

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

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

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

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

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

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

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

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

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

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

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

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

School Spring Events Kick Off

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Regards,
Name and signature

I DO IT THIS WAY
Keep it simple.

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

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

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

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

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

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

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

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

Working "On Spec" Not Necessarily a Bad Thing

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

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

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

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

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

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

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

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

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

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

My Mother is Dying

As I am writing this my mother, almost 80, is dying. In Texas, my Dad, sister Philda, and a host of family and friends is working with Hospice in an effort to make Mom's passing as comfortable as possible. In California I am back only a week after sitting up with Mom for hours while she struggled to take a breath, while we each took turns telling her how much we love her, and she, so wispy of breath told us the same.

Alzheimer's, diabetes, a weak heart, congestive heart failure and “Whatever that bug is that’s going around,” have taken their toll on a woman who fought long and hard to grow up, survive and keep her own family of a dozen (brothers, sisters, Mom and Dad) at one time, and that of her three sons and two daughters and a loving, dedicated and devoted husband well and well fed, healthy and happy, spiritually and morally strong.

I just recently completed the first edition of a book about Mom. Alzheimer’s: Stories Mom Forgot. It was my first draft, but knowing “things” might not go much longer I self-printed, published and delivered in time for the holidays (Mom's absolute favorite time of the year - Christmas Day is her’s and Dad’s anniversary, 62 years) enough copies for my brothers and sisters, my Dad and a few others in the family.

It was well received, and each said that amid the tears of laughter and pain they found renewed memories of their own forgotten stories. What a gift, I was told, keeping your mother’s memories alive, for you and all of us.

I have more stories to add, so the second edition is the one most likely to achieve some degree of mass publication. Sadly, now it will have an ending where no further memories or stories will be created. But it will contain much of what my mother was, who she is and always will be. The book also encourages others faced with Alzheimer’s - victim, family, friend or acquaintance - to find ways to preserve their own stories and memories.

It is my intent, and with the support of my circle of family, friends, acquaintances in my day-to-day world, and video industry universe entirely possible, to go beyond this initial preservation of Stories Mom Forgot. Alzheimer’s is well-past that thing about being, what is it, five removed? from virtually any other person on the planet? None of us is much more than one removed from someone touched by this damned disease. I hope to, like Steven Spielberg, establish a movement across the country (for now, the world, perhaps, eventually) that supports the use of video, audio and publication to establish an archive preserving these lost stories and memories.

I have no idea what I am doing, or where to start, but I will begin immediately, as I wait for that dreaded phone call from Texas, to research and reach out in an effort to find the means to do this.

As Nancy Gibbs wrote, in her essay Remember This, Time magazine, December 8, 2008, regarding why we save and collect things. Because, she wrote, they are ”...the memory of the moments that make us who we are.”

Speilberg launched the “Survivors of the Shoah Visual History Foundation” in 1994 after filming Schindler’s List. Completing an archive containing testimony from 51,661 eyewitnesses was “a dream that became a remarkable reality,” he said.

Like Shoah there are other memories, stories all but forgotten, and perhaps in their own ways as educational and important to memory preservation via video, audio or publication - stories and memories of Alzheimer’s victims, their families, friends and acquaintances.

I will keep my readers and followers posted on where this leads.

EPILOG: Mom died at 6:20 a.m. on Tuesday, January 27, 2009; she was buried Thursday, January 29, 2009 in Timpson, Texas, Weaver Cemetery, our newly-acquired "immediate family" plot. During her final hours Mom, Margie, Margaret, the woman Dad has always called "My Sweetheart" was able to individually tell each of her children, and my Dad, "I love you with all my heart."

Until her very last cognizant moment Mom was able to spell "H-O-P-E-L-E-S-S." This is a special thing we shared when Mom was several years into Alzheimer's. She would ask, "Am I hopeless?" We would ask, "Can you spell hopeless, Mom?" Then, when she did, unerringly, we would respond, "Then you are not hopeless Mom." She would smile for awhile, then ask again, "Am I..."

I am expanding my book about Mom; "Alzheimer's: Stories Mom Forgot" and I will soon be further pursuing a way of honoring her memory through web site, publication and any other available means by advancing a program designed to help others affected or afflicted by this disease preserve their memories and stories.
E.C.

Why video?

Before you accuse me of preaching to the choir, consider that the quotes I am about to share below offer you yet another source for emphasis on what you do with your video services - preserve memories.

Later in this article I will briefly recap some of the marketing possibilities featured over the years in this blog as well, reminding you of the possibilities. My two primary marketing slogans: If you market you will make it; Somebody somewhere celebrates something every day! © 2000 - 2009, Earl Chessher.

First, a couple of truly remarkable quotes by non-video producers that support the "why" of video production.

“A photograph is just a little, teeny-weeny, small piece of life. I feel like I see so much more than what I can actually get. I believe strongly in the power of the still photograph; it can say so much, but it really is just a small piece of what actually is going on.”
— Annie Leibovitz, Time magazine, December 8, 2008 - 10 Questions.

(This renown photographer is perhaps most recently recognized for being behind the shutter of the Miley Cyrus photo.)

Key in on the words "...I see so much more than what I can actually get.” and “...it (the still photograph) really is just a small piece of what actually is going on.”

And,
“My own collection is personal, the table of contents of my life. ...rehearsal bouquet made from the ribbons from my bridal shower, and a shoebox full of key chains and charms...
“...Souvenir means ‘to remember’; I wonder why we tend to associate the word with the tacky and tasteless, rather than with the most precious collectible of all: the memory of the moments that make us who we are.”
— Nancy Gibbs, Time magazine essay titled Remember This. The rush for election souvenirs reminds us why we collect: to preserve our most moving memories, December 8, 2008.

Key in on the words “...the memory of the moments that make us who we are.” Although Ms. Gibbs is talking about collecting physical objects in her essay, she still could as well be talking about preserving “...the memory of the moments that make us who we are,” on video. Our many, many celebrations of life.

Two GREAT video resources!
You cannot go wrong, checking out these two great resources for video production and marketing information, as well as other product and resource information: In The Viewfinder by Jay Michaels, and Video Production Tips by Lorraine Grula, who Jay calls {...the Internet Video Gal.” and I concur.

Michaels joined me (beat me, actually) in outlining valid ways to make money, including the videotaping and production/marketing of holiday decorations. Though I might have said it differently, the end result of Michael’s blog is an informative and encouraging approach to yet another market - albeit seasonal, you can still plan for your 2009 holiday production season. Go to Christmas Footage and DVD Marketing and make your plans NOW!

About VPT, Michaels says: “Video Production Tips is a site dedicated to helping you gain the skills and knowledge necessary to produce your own web videos. All of the advice is free!”

According to Michaels, The Internet Video Gal has 30 years experience in video production and is a well-respected professional working primarily in the Nashville, Tennessee video and TV news market. She has spent her life in the field creating video stories on every subject imaginable. On her site she teaches quick, down-and-dirty video production that looks like it took forever and cost a fortune, but didn't.
Now she runs her web sites and offers her lifetime of experience to video producers worldwide. Check out her free newsletter!

These, and many others, are dedicated video professionals willing to take their time to educate and share production experiences. Take advantage of this knowledge, it is the best video tool you will ever own.

Portions of the above have been paraphrased or altered slightly from information originally posted on In the Viewfinder, Video Production Tips, and other video related web sites.

Earlier I said I was going to briefly recap some of the marketing possibilities featured in this blog over the years, reminding you of the possibilities. But this article took a life of its own, so the NEXT blog will do that.

If you market you will make it - © 2000-2009, Earl Chessher
Somebody somewhere celebrates something every day! - © 2000 - 2009, Earl Chessher.

This Blog - The Past Five Years

EC Come, EC Go is five years old. It started out being a totally off-the-wall compilation of blather based primarily on my original career skill set - writing. Having been a journalist, freelance writer of magazine articles, graphics designer, layout and publications designer, photojournalist, publisher and owner of newspapers for over 30 years, I figured writing was somewhere "in there."

But the blog was quickly becoming hodgepodge with no sense of direction to it, and I wanted it to be more than that. So, I started writing marketing articles - initially thinking I'd get as many, if not more, clients (brides) seeking affirmation/reason or justification for hiring a video producer, as I would video producers following my articles.

I underwent another change in focus, setting up a blog for publication and sharing of a very seriously screwed up project gone awry when I published a series of critiques from a volunteer group of "fellow" video producers (a total slaughter actually - all of them drawing blood). I included their comments, my responses, answers or rebuttals and the whole shebang was simply too HOT to handle - so I dumped it all.

The same thing for when I perceived that a blog focusing on critiques on the web sites of people in the independent professional video services provider business (by request or not) would be viable, helpful and informative. I called upon my publication graphic design experience, marketing experience and editing experience to help others proof their copy, reduce the redundancy, enhance the impact and focus on the effective. That one pretty much "burned down the barn" with people in the industry - many of them fiercely independent, selfish and headstrong. Many of them unwilling to accept that they might be able to benefit, lashing out instead in overwhelmingly defensive posts and responses on a few video related forums in which I participated.

And now, I write articles about ideas, approaches and rehashed possibilities for business in the video marketing arena, hoping I am helping somebody somewhere. Judging by responses on two forum sites that seem for the most part to have a more well-rounded, less self-centered and egotistical, less abusively aggressive membership all more willing to share than slice and dice their fellow members. Those forums?

Check out www.dvprofessionals.com and www.videomaker.com - you might also go to the bottom of this blog and become a "follower" joining the impressive TWO that I now appreciate having aboard. Check out their sites as well. Jay is especially focused on quality information, resources and input in this business of video.

I have participated in facebook and Twitter, using those sites to post when I have fresh material on EC Come, EC Go. And, of course, I post notices on the above two forums as well. I don't know about the overall effectiveness of fb and T, but time will tell. For now these are mostly social/viral marketing experiments that seem to not have much sway.

EC Come, EC GO will eventually (this year perhaps) find its way back to my original intention - promotion of my fiction and non-fiction writing, writing in general and trying to develop a marketing environment for the sales of upcoming books I intend to get published.

I will not abandon my focus on marketing concepts, and ways to make money, sharing mine, and others, experiences in video production with the community-at-large in an effort to spread the word about the commercial viability of video production at the independent producer level. It will simply be under another name with links and re-directs, announcements, etc. regarding the same when all that comes to pass.

Meanwhile, I have a number of marketing web sites that are in serious need of revision, updating and streamlining - this is a must do for 2009. I will keep those of you who are interested posted regarding the changes, and my progress on the above plans, as well as new and improved web sites - if, in fact, anyone is interested and (anymore) has the time to check things out.

My next article coming sometime early January, 2009 (I hope) will offer a review of the many articles contained in this blog's current iteration, and the areas I plan to focus in the coming months. I will also, as has been strongly suggested by Jay - one of my TWO followers - be creating a book with support materials and samples on disk, as well as resources and marketing letters, forms, etc. that can be revised to meet the reader's needs. I will be adding visual content to the blog, more links to other definitive or interesting sites and resources that might prove helpful in the business of video production.

I write LONG, and people in general dislike reading, so my way of communicating is probably going the way of 8-track, audio cassette, VHS tape and even MiniDV tape and standard CD - sooner, rather than later. Until then...
...I will write. READ if you want, or not, but I have to tell you that reading will remain the number one avenue for self-education for a long time to come.

Happy New Year!

Make Money with Video Vignettes

Video vignettes are brief, live recordings of individuals reading from short personal bios/notes, or bios/notes of someone whose special story/memory they wish to preserve. The vast majority of video vignettes I have produced have averaged 20 minutes to a half-hour in length. Some have been as brief as 15 minutes, and others as long as an hour. Occasionally, but rarely, longer.

I have also produced video vignettes of clients speaking extemporaneously, as well as working from a script and a scrolling prompting system using an old Amiga computer and some rather antiquated software, poster board prompts, even sheets of typing paper with key words. Depending on the length of time spent, such productions can generate a couple hundred dollars income, sometimes but rarely thousands - it all depends on your fees, the complexity of the productions, and client budget, of course. The trick is to minimize your editing requirements.

How do you go about getting this kind of production work? Work, by the way, that offers a lot of scheduling flexibility, and provides income generating opportunities virtually any hour of any given day. This is an excellent way to get in some production time during those off days and slow weeks, adding to your bottom line. The preservation of personal memories and stories with professional quality production work can be especially lucrative during economic hard times. People tend to focus more on such things, and the family unit rather than expensive dinners, new cars or boats, or major trips.

Set up is quick and easy, videotaping and audio acquisition is (or can be) down and dirty still with excellent results, and virtually no editing. Planned properly, and with the right client, you can almost edit in-camera and hand it over at the end of the session. But, you probably wouldn’t want to. Why?

A little touch of added production quality: titles, brief opening/closing music score, closing credits and packaged in a nice DVD case with graphics printed on the disk as well as custom color inserts makes all the difference in the world. It takes very little time to spice up the production this way. Making the effort often results in additional sales of copies, referrals to others in the client’s social circles, and can generate even better paying gigs of interesting and varied commercial value. It’s (almost) all in the presentation and delivery.

GETTING THE GIGS
As with a lot of things you can do with video to make money, you need something to show. You will need to give a little to get a lot, and it doesn’t take much effort. Notwithstanding the family and friends you have around you (known, and excellent resources for practice or developing samples) there are also other avenues to pursue.

I started marketing this production service at retirement centers, convalescent centers, community senior and citizen centers, and most recently picked up a couple from a holiday party gig we booked Christmas week. Two clients there, encouraged by the telling of an old war story by the company owner’s 85-year-old father, have scheduled their own video vignettes for the end of January 2009.

Give a little to get a lot? Well, my first adventure was in a retirement community. I personally visited the facility director and offered to spend a day on location at one of the clubhouses. I proposed to set up a small interview area with 3-point lighting, camera on a tripod and wired mic. (I now use the Zoom H2 standalone digital recorder for virtually all such audio acquisition). I wore a suit and tie, had professional quality business cards and a brief 10-minute video of my Dad sharing one of his many “stories from the past” just to give an idea of what I was proposing.

I told the facility, and also the activities, directors if they had residents who were physically independent, could communicate and were active and interested in having a story or two of themselves on video that they could share with family, friends and others in their social circles, I would be willing to record their brief stories and make a quality production for each of them - no charge.

I explained that I would need them to distribute fliers giving the date, time and clubhouse/activities room location, advertising that the video interviews and one copy for each participant would be free of charge. I asked for permission to provide cookies and punch (if you feed them, they will come) and asked them to encourage family members to attend if they were curious or concerned. I handed out releases to be signed, noting that I would be using the resulting productions for further marketing.

The fliers were distributed and I videotaped and interviewed 18 individuals during an eight-hour day. Some brought hand-written notes on a tablet or notebook, one brought a laptop computer, and others had various and assorted note cards. A couple brought a friend or family member to interact with, telling them “the story” while I recorded. Those came off so natural and relaxed. A few brought photo albums or a representative photo of the story they wanted to record. The excitement level was high and there was a friendly, almost party atmosphere.

I did what I promised, and I sold several copies to most of the participants. Over time I received many other orders, and contact from friends and family members to provide similar services for them. The first year I did this I had all the bookings I could handle, and the scheduling was very flexible for most of them. Only a few had some kind of serious time line they wanted to meet - a reunion, milestone birthday or anniversary coming up.

The best part of that initial experience was being called back not once, but several times over the next two years by the facility to do it again, this time for “paid” gigs. I was also contacted by associated facilities, as well as people who worked with veterans, retired and active senior groups, with interesting stories they wanted to have recorded. They’d heard about, or watched one of the productions and were enthusiastic about doing the same thing.

Another way to get these gigs is to get addresses for community centers and senior/retirement facilities, even churches, in your service area. Develop a single-page letter with the basic information, and create a five-to-ten minute DVD demo to include. It doesn’t always generate interest or immediate response as well, however, as a personal face-to-face.

SHOOTING THE INTERVIEWS
This is fairly basic production work. Pretty much any kind of light source(s) will work. I have an NRG 3-point lighting system that I found reasonably affordable many years ago, but there are any number of ways to generate soft, pleasant lighting. Also, depending on the time of day, you can utilize available lighting resources as well - just be sure to white balance your camera for optimum results. Avoid harsh shadows. Soft, indirect lighting sources are best for a pleasing and flattering image quality. I also keep a box of tissues handy for blotting oily or shiny faces.

I have found that most community centers and activity rooms have pleasant, soft non-directional lighting, as well as comfortable chairs, and artificial plants, or a side table and lamp, to help in the prop department.

I do a sound check, of course, asking the participant to speak in their normal, conversational voice.

To get the best, most natural shoots, and to help (sometimes) prevent overloaded nerves, after setting up the camera on a tripod for either side, direct, or over-the-interviewer’s-shoulder perspective, checking the lighting on my monitor, I remove the headphones, abandon the camera (leaving it running - if you cannot turn off the blinking red light, put a piece of tape over it) and seat myself in a position that allows the subject to focus on me, telling me their story, rather than worrying about what the camera (or the person behind the camera) is doing.

I ask the subject a few general questions in a light, interested, conversational tone just to get him/her into it. When I see them relax a bit I encourage them to start reading, or telling me their story. This sounds like a long process, but it only takes a few minutes most of the time. Of course I adjust my approach when they have their own props, or have brought a friend to participate in the story-telling process. Be flexible. Don’t let yourself come off anxious or everyone around you will tighten up, making for some seriously tense footage, or even re-takes.

Before the subject leaves, check your footage and your audio to make sure, then call out “next!” Don’t make the mistake of allowing them to see or review the footage. If you are on a production time line, this will seriously screw up your ability to keep on schedule. I usually tell them (if it is so) “looks good, sounds good, you’re gonna love it. I will let you know as soon as your production is ready to delivery.”

They already know an estimated time line for delivery, and have usually given me a photo of themselves, or the story subject, along with their information sheet. So, “next!”

PRICING YOUR PRODUCTION
Pricing, of course, is whatever you want it to be, and what your particular market will bear. Set your own values, but first I’ll tell you what I started out charging, and what I charge now, and some variables that sometimes occur.

That first experiment was entirely on spec - meaning, of course, I was willing to shoot and deliver a product for free. I charged $20 per copy and averaged five copies per subject. Some bought 20, others a couple, one took the free copy and “bye-bye.”

Today, I charge $100 per hour and spend, on average, two hours with most clients, including setup and break down. I require a two-hour minimum, unless the client is only going to read from five pages, or less, of copy usually taking about 10 minutes. I’ve done many one-hour gigs, including setup/tear down, but have almost always wound up with copy sales of a dozen or more offsetting the minimum fee.

The hours can add up when a video vignette client winds up being a documentary client or a “This is Your Life” subject with multiple interviews, additional resources and visual materials, extra locations, audio enhancement, etc. This is a whole other subject, and I try to keep my focus when promoting video vignettes as opposed to full scale documentary production work. It is, however, all in the hours and, of course, the amount of editing you wind up having to perform. I currently charge $100 (two-hour minimum) to shoot, and $75 an hour for editing for serious documentary work. I advise that editing can run about one hour per finished minute. Keeps everything in perspective - sometimes.

Video vignettes need to be simple and straightforward with little, if any, editing. Get your clean ins and clean outs, make sure your white balance and audio levels are proper going in, then whip that project out and collect your money. “Next!”

Money Maker: Day in the Life Videos!

Day in the Life video productions - so simple anybody can do them, but they don’t. And, neither do friends, parents and grandparents who have and use one of the millions of camcorders sold each year.

You can market these special productions, offering client families the opportunity to not only simply enjoy the event, but also get a professionally videotaped, edited, titled, produced and packaged DVD they can enjoy watching and sharing over the years. I know this from personal and professional experience. Many of our Day in the Life clients tell us their children watch these special productions over, and over again.

What child wouldn’t? After all these productions feature them doing something they enjoy, playing music they like, often featuring them as the sole focus in an active, colorful and enjoyable movie. Kids love to watch themselves doing stuff, especially if it looks like they’re having fun doing it! Moms and dads, grandparents and friends get a pretty good kick out of these productions as well.

Back in the VHS/VHS-C days I spent a long weekend with some out-of-state friends. They have four daughters, ranging in ages from two to ten at the time. This is where I realized the marketing potential for what became “Day in the Life” videos featuring children doing something “fun”.

Being a child at heart myself, and often mistaken for a grownup-sized toy for the children I chance to be around, me and the four girls started playing hide-and-seek, hiding and scaring, room chasing and bed bouncing throughout the family residence. We went through a couple hours of S-VHS-C tape while driving the parents nuts with our noise and antics. By the time we were threatened with being forced outside in the middle of a winter day by the folks, I had worked myself into a glorious sweat. The girls, however, were nowhere near ready to calm down.

Fast forward to a couple of months later. I had some time so I went through all the footage and captured the “good stuff” created special titles for each of the girls and generally made quite a production of it. The final video wound up being about a half-hour, give or take. I packaged it up with custom graphics and sent a copy to the girls. The immediate response was overwhelming.

Mainly, the parents offered to “buy” a backup copy for themselves, and one for each of the girls because they were fighting over who owned the original. So, I produced another general video, and four with graphics featuring the girls individually, naming a video for each of them, and sent them off.

A couple of years ago, while talking with my friends, the video came up. I was asked if I still had the original and could I convert it to a DVD for them. “No,” Mom said, “make it five.” Even though the oldest had finished college and the next-oldest was in college, mom said the girls “still” talked about that video. She knew even now they each would want a DVD of their own. Talk about an extended shelf life. I was told the girls had literally worn out the original tapes, watching them so much.

I have honed this process down, and do not necessarily spend that kind of time with client children, but still. I have produced montages with special music featuring digital shots I’ve taken during a couple of hours at the local playground. I have produced live programs featuring a child and her cute antics at a playground, saying the cute things kids are prone to say, making cute (sometimes ugly) faces while mugging for the camera man.

On average I have spent about two hours accumulating video/photo resources, depending on what the client parents hire me for, the type of event, or scenario - most wind up being a few hours at the local park, playground, a petting zoo, the local pier or duck pond, Chucky Cheese, or even a McDonalds play area.

Overall success, of course, depends on how outgoing the child is. I am fortunate in that I seem to have retained the “adult-sized kid’s toy” element and can often develop some good interaction even with kids who have only known me for a short while.

The challenges exist, and it will be up to you to get what you need to make your Day in the Life productions work. I have also had to reschedule due to some situations where the best I could get out of a particularly unhappy child was two hours of crying and screaming. These usually, eventually, work out. Bad takes happen.

Why would people pay someone to produce something they can? Because it is easier, and if you balance what you do for how much you charge, and still give them something unique and professional looking (to a greater or lesser degree - depending on your fees) many people simply do not have the incentive to personally move beyond the “home video” look with their own footage.

The vast majority of home video enthusiasts simply aim and shoot for the duration of the media their camcorder uses. They talk over, shoot down instead of on a kid’s level, zoom-zoom, cut heads off, chop off audio in mid-sentence, swish pan thoughtlessly, jerk into and out of focus, never worry about back light issues, framing, stability, clean ins and outs, POVs (point of view). They record an event or special moments, watch the video once, maybe, fast forwarding through the rough stuff, think about getting some home editing equipment, or having their footage "professionally edited" yikes!

Having samples sells Day in the Life video productions. Samples show potential clients the difference between shooting everything and never editing, and a production that is videotaped and edited using at least some degree of the same professional techniques you would use during any commercial gig.

Decide what you are willing to do for how much and include your shooting time, factor your editing time, and production length into a flat fee. For me a flat fee sells a bit easier than an hourly charge.

Do a couple of samples, say one of only photos for a music montage with titles and special graphics, the other with live footage. Maybe a third featuring narrative from parents/grandparents/family/friends, live shots and photos. The only thing is, if this production is intended to please the child, the closer you come to doing a documentary style video the more you’re going to lose the child’s interest in the final production.

Feature the children heavily, with appropriate music they know and love, antics they enjoy pulling, and you will not only win the day, make the money and set up a whole new service focus, but you could wind up with a seriously renewable business. Don’t be surprised when you get calls for christening, first communion, talent show, elementary, middle and high school graduation, senior montage, milestone birthday parties, and even mom and dad or the grandparents for their parties and celebrations.

Direct mail works well for this. Keep every good address you acquire and use it as your initial direct mail marketing strategy for sending out a one-page cover letter and your Day in the Life sample DVD. Hand them out to folks at community events, around the neighborhood, or along with your samples of special childrens performances at day care, private and public schools.

Make Money Videotaping AND Entertaining!

Take a walk on the wild side and get into the act while making money with what my company calls "Paparazzi Parties!"

See A Sample...
Click on the title to this article and go to our web site page where you will find a link to a QuickTime “Paparazzi Parties!” clip that gives you an idea of what I am talking about. Yeah, that's me in the ball cap, striped shirt and (unlighted) cigar. You will have to wait a few for the clip to play, but it could be worth your time. Also, if you like some of what you read here you can click on "follow this blog" by scrolling to the bottom and be an ec reader.

Pumping You Up!
Like the requirements of some of my previous articles, this is not for the faint of heart, shy or bashful Independent Professional Video Services Providers who prefer to hide and shoot. You will need to have a personality that compels you to perform. But I have to say if you are an outgoing, gregarious, former school/family clown, or just love to have some fun, you are going to enjoy doing your own version of Paparazzi Parties!

Develop your character (or characters) and costume(s) and get into it! Video can and often should be entertaining. While there are certainly serious/educational focus requirements for video productions, entertainment is the key word for our Paparazzi Parties! With this service listed in your marketing materials, and development of a couple of short skits or concepts you do not have to remain always behind the camera, or hidden away in your cave while editing to make entertaining video.

Don’t always be like the frog in that cartoon where he sits and croaks, only talking, singing and even dancing when nobody is watching. Or, in your case, in the shower where (hopefully) nobody is watching or listening.

Those of you who yearn for a chance to be in front of the lens and have a go at letting your entertainment talents take front stage can not only release your alter egos, but make money doing it. And, you don’t even need to be a SAG member.

Make Some Money!
Get paid for 15-to-20 minutes of work (not counting your travel time, or the time you spend “getting into character” and dressing for the part). Put in an hour, or so, of work doing some clean-up editing, putting about 20 digital images on a disk, mail the package and get ready for a stream of referrals throughout the year!

The 2008 holiday season, and current bookings of my Paparazzi Parties! for a few parties in November and December, brought to mind that I should write this article now. I have to say, however, that when we kicked off Paparazzi Parties! several years ago, I used the holiday season to promote it, but we now get bookings spread out over the year. The first few were daunting, even for me/us, but after that? Piece of cake.

What I now hear when answering an inquiry is: "Do you guys still do that paparazzi thing? I hope so! We were at one you did for our friends and loved it! My husband’s birthday is April...” They don’t ask "how much does it cost?” They say, “I want to book you!” Yeah, OK, then they ask how much it costs.

How much does it cost? Our prices “start” at $350 for about 15 minutes of entertainment. The client gets on site entertainment that usually works very well (They want their guests, and the celebrant to have fun, right?), a 10-to-15 minute DVD video, and about two-dozen digital “snaps” of the interaction on a photo jpeg CD.

Depending on the event, the length of time they want you to spend on site and in character, your travel time, preparation, you can adjust that “starts at” to whatever you want, and whatever your market area will bear. We try to hit surprising, shocking, hard - fast in and out. "Gone in Sixty Seconds" comes to mind, but this take a bit longer.

And, the great thing about our Paparazzi Parties! is that they are not always on the weekend. While a good number of inquiries are for Friday nights, Saturdays and Sundays, we also get plenty of events happening during the week. It just depends. Like my marketing mantra: “Somebody somewhere celebrates something every day!”

Our Technique/Approach
I have a number of ideas for characters and approaches to "paparazzi-ing" the client, victim, celebrant. But being in the "old fart" category, I mostly opt for a character who wears a ball cap, chews on an unlighted cigar, wears a black-and-green Grinch Who Stole Christmas necktie, a brown checkered vest, blue striped shirt and baggy blue pants with a pair of roughed up, work out tennis shoes.

My character is acerbic, sarcastic, caustic, stares openly at the "babes" and occasionally (very occasionally) gives the guy celebrants a smack on the cheek (face) when he least expects it. I "tone it" up or down, depending on the occasion, but not much. People like raunchy and it can, believe me or not, be done tastefully. Maybe.

NOTE: When I book with the client I ask about the celebrant's personality, his or her likes/dislikes, phobias, and assorted idiosyncrasies or personal "quirks." This gives me things to focus on that often cause the guests to break out in riotous laughter.

One of my favorite skits is I have a bag full of rolls of film that are absolutely no good. After the initial shock and fun, or irritation, of our entry dissipates I then circle around, handing rolls of film to various guests, breaking into conversations, interrupting them between bites of food or drinks (hey, paparazzi are supposed to be irritating and obnoxious, right) and asking loudly and rudely for them to roll the film back up so I can "re-use" it. I do not sound educated, nor do I enunciate clearly or carefully when I am in character.

"I have this new recycling program going so's I can save money on film." I say. "Roll this up for me so's I can use it when I come back. You do know how, don'tcha?" Depending on the response/reactions (many of the guests really get into it with the interaction) I may or may not linger. I often show the "dimwit" how by grasping the nipple of the roll and cranking a few turns. Sometimes I will pull out the film from the canister, shocking the group. Whatever it takes. I may also ask for help in loading the film into my camera. Duh.

My associate is also in character. She videotapes the interaction, guests and celebrant's reactions, and occasionally yells out that someone looks just like (name the star, or beautiful people member, or politician, etc. here) making sure everybody hears it, and we both scramble to get in that person's face. She videotapes while I snap pictures, the flash going off in their faces, interact, then we move on. It's fast-paced and often a total shock. We try to leave before things get bogged down.

However, we have developed a bit of a "rep" around here, and some of our gigs call for us to be THE PROGRAM or THE ENTERTAINMENT and we remain for a couple of hours. Yeah, we make more for those. Our highest paying gig under Paparazzi Parties! has been $3K, and we were the greeters, attacking people as they arrived, interacted with guests during the social time, disrupted dancing, roasted the roasters during the main toasts, and took off after desperately departing guests, getting that last shot on my camera and/or the camcorder. The final production was under an hour and required no sophisticated editing techniques, simple cuts from one "moment" to another, opening/closing titles, and about a hundred jpeg images - all candids.

Marketing This Fun Service!
PartyPop.com is a great place to list with this. There are other web sites that focus on things other than weddings, offering DJs and more under entertainment. This is a whole new listing for you if all you have done previously is focus on being a wedding video producer.

I have a direct mail letter that pretty much regurgitates what is on the web site page, and I usually include a full version of the sample clip on DVD. I mail these periodically to every good address I have on file. (you've read my direct mail article, right) I distribute these at other events we book, and make sure to have plenty of cards for the parties we "disrupt."

Go ahead and "paparazzi" somebody. Act up! Have fun! Make money!