4 Tips for Event Videography

Before you go cover any event, you need to make your own preparations so that you don't miss any moment worth covering! The events that you cover differ in their nature and their layout.

For instance, while in a wedding, many things might be happening simultaneously and hence you might need two or more cameras to be set up at different places, in a corporate event of a day-long workshop, you may not need to place so many cameras. Even so, some basic guidelines can be followed for event videography:

1. Know the schedule of the event
There could be nothing worse than not knowing where to be at a particular moment and missing a scene for video coverage! If you are a wedding videographer, you will need to develop a schedule outlining the day's events from the bride getting dressed, to the bride's arrival to the reception. You will know where you are expected to be at different times of the day.

Likewise, if is a corporate event you are covering, you will need to know when the corporate guests are arriving, when they will be taken on stage or when the floor will be open for questions. Since you will know what to anticipate next, you can beforehand, decide the placement and position of your camera and coordinate with the organizers for hassle-free coverage.

2. Consider yourself the only videographer
Videographers tell beginners to think as if they are the only videographers covering the event even if they aren't!

For instance, you might not be able to get the close-up of the host presenting the award to a guest and you might think that your assistant will take care of it from their camera. However, what if your assistant was unable to do so? In somewhat informal functions such as weddings, you can carry out a reenactment to make up for any missing elements. However, this may not always be possible in a corporate event.

3. Arrive early and leave last.
This will be for your own convenience. It takes more time than anticipated to set up the equipment. Similarly, leaving last will allow you to capture as much footage of the event as possible.

4. Length of shots
For the best possible shots, keep the average shot length between 5 to 10 seconds and keep a shot steady for at least 10 seconds. This will make the video fun and enticing.

Laird Productions is a full service video production company. It covers corporate events, wedding videography, weddings and parties. For more details, visit us at: wedding videographer.

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The World of Movie Distribution Is a Tough Place

The world of movie distribution is a tough place. After fighting and sweating to finish a movie you're mentally and physically exhausted.

You just want to take a break and rest, but you can't because finishing a movie is only half the battle. It's time to enter the world of movie distribution.

Movie distribution is a tough place for filmmakers new to the grind. It's hard to switch off the creative mind to deal with the business side of selling movies.

What I've learned the hard way is the movie distribution really starts with promoting and marketing a movie.

Social media is an inexpensive way to get the word out about your movie and create a killer viral buzz online.

It's cool to go the film festival route to get your movie seen by viewers and potential film buyers, but over the years from talking to other filmmakers there is a common feeling that the film festival scene is too crowded now.

U.K. filmmaker Wayne Daniells from LiarDice Films told me his last trip to The Cannes International Film Festival was a ruthless feeding frenzy.

There were a glut of movies and producers were fighting to get the attention of movie distributors.

All in all Wayne expressed that it was a waste of time and money pitching his film there. I've heard the same opinion from other filmmakers that are frustrated with the film festival scene and no longer see it as a good way to secure movie distribution.

I personally like the direct route of contacting movie distributors to see if they're interested in being sent a screener. This is where it helps if you have already been promoting and marketing your movie online using social media.

Movie distributors are more interested in acquiring movies that already have a strong online presence.

I'm strictly speaking from a true independent movie perspective. Studio budget movies are an entirely different animal when it comes to the world of movie distribution.

When it comes to movie distribution for an indie produced film the way it normally happens are independent producers and filmmakers take the risk making the movie without any guaranteed movie distribution deal in place.

They usually have to shop it around to sell it. That's been my personal experience so far. I've never created content with a movie distribution deal in place.

It's like writing a screenplay on spec, but you're dealing with a movie. Promoting and marketing a movie through social media is an absolute must.

Start early before you're movie is even finished. That way when you begin contacting movie distributors you're movie will already have more appeal because people are talking about it.

Movie distributors that cater to releasing independent movies do very little marketing for most of the titles they release.

If you're movie doesn't have any actors or celebrity names attached to it then it won't get marketed outside of the standard insert in a movie distributor catalog.

So once you do secure a movie distribution deal you're already giving your movie a boost by promoting and marketing yourself.

My mind is all over the place today, so let me get back to finding a movie distribution deal. Hold up please. A nice Miller Lite would help me focus right now.

That's much better now. There are different ways to land a film distribution deal. You can spend the money doing the film festival route. Deals get struck all the time at film festivals.

But honestly there is a glut of film festivals. The number of film festivals is way out of whack compared to the number of movie distributors that release independent films.

Skipping the film festival circuit works for many independent movie producers that don't have name actors in their film or know their story won't appeal to an art house crowd.

Hiring a film sales representative is a good call if you skip the film festival scene all together. A film sales representative or producer's rep has contacts with movie distributors to get your movie screened.

Plus many of them can get you into magazines like Indie Slate and MovieMaker to make your movie look more appealing to movie distributors.

They also watch your back when it comes to movie distribution agreements. When filmmakers look at movie distribution agreements it can be overwhelming.

There is lots of legalese "mumbo jumbo" in there designed to lessen the amount of money you make from movie royalty payments or a straightforward buy-out of your movie.

Unless you have experience reading movie distribution contracts it's easy to get taken advantage of. I'm in the habit know even if I have a films sales representative like "El Tigre" watching my back I still read all contracts completely.

You will be surprised at the hidden fees and costs some movie distributors try to get over on a filmmaker with in of all places, the contract definitions section.
My film sales rep and I once found a flat fee of $50,000 for marketing costs in the definitions section.

Hiring an entertainment attorney is another good move, but usually is too costly for a truly independent filmmaker. Plus from my own experience an entertainment attorney is not as helpful as a film sales rep with securing a movie distribution deal or getting you some press.

That's not really the job an entertainment attorney. They're great when it comes to negotiating your movie distribution contract. But most won't get you a deal like a film sales rep. You can bring them in after you have a deal on the table.

I had two sharp entertainment lawyers that saved my ass from getting burned when it came to sell a reality show I produced called "America's Wildest Bachelor Parties." They got me a producer friendly contract and got me paid on time each quarter. I'm glad I hired them.

If it's just not in your budget to hire a film sales rep or entertainment lawyer you can still secure meaningful movie distribution hustling hard yourself.

Promoting and marketing your movie online is followed up by putting together a clean and neat film package to send to movie distributors. Keep it simple with a DVD screener, one-sheet artwork, tight synopsis, tagline and very short bios for key cast or crew that have previous IMDB credits.

To get a list of potential movie distributors see what companies are releasing movies in the same genre as yours. The Internet makes it pretty easy to find contact information nowadays.

Movie distribution companies usually have a contact page for film submissions. Follow the guidelines and mail off your film package. They get a flood of film submissions, so be patient if you don't hear back right away.

Movie distributors have certain times they are aggressively seeking films to fill their catalog and other times they have all they need for now. I have the buying months written down.

Once they get your film package they will Google your movie. That's where having been promoting and marketing your movie online really stands out. It takes more than only having a website or blog.

You need some press and backing from online film bloggers to make your movie standout in the eyes of movie distributors.

I dedicated a chapter about movie distribution in a book on indie filmmaking I wrote. It might help you with more detailed movie distribution information. All the best with marketing and selling your movie.

Get the inside scoop on writing, producing, directing, and movie distribution at Slice Of Americana Films. Check out the life and times of filmmaker Sid Kali.

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Exploring The Significance Of Video Production As A Business Marketing Strategy

Plenty of companies invest in corporate video productions, frequently as a business-to-business marketing tool to reach out to a specific audience. Corporate videos are a very effective way of visually displaying merchandise for sale, business intelligence, brand philosophy and services to likely clients.

In an increasingly multimedia environment there is often a crossover among corporate video and other audio-visual and editorial ways of expressing a company's message, such as video content on homepages, Television advertising and world wide web viral videos.

Corporate Video production companies will normally be directed with a brief by their client business from which they elaborate an outline plan of action for audio-visual communication and outlets for it to be broadcast. Several video presentations can be budgeted below 5,000 pounds with a skeleton film crew. Others can be as intricate and pricey as TV advertisements.

The method for creating these videos typically involves a chain of stages. Pre-production takes in the developing of storyboards and a blueprint for airing the audio-visual content. production companies will normally buy into a budget at this stage with their corporate client.

For these videos production companies will bring on board a crew. This will usually involve an Independent Director and a Lighting Cameraman. Regularly, a talent agency will be approached for actors or presenters. Weightier productions could also draw in Production Security.

In Post Production every bit of prerecorded material is taken to a Post Production company for Video Editing, Audio Editing and grading. There is frequently a Voiceover Studio assembly to add commentary for the video. Several videos also use an Animation Production Company.

Finally, an authorized viewing is organised. Clients are called in for a progression of viewings that permit them to be included in the adjustment and look of the content before it is made public and available online.
There are a myriad of jobs at production companies, each involves a specific set of talents. Jobs in Production are split among the stages involved in bringing filmed content to a polished state where it is all set to be screened.

All stages are overseen by a number of Executive Producers representing the financiers, the production company and the customers. The day-to-day managing of the production process and its spending plan is typically governed by a Production Manager who also hires production runners.

Crew hire is at the core of all productions, whether planted in a Film Studio or on location. Jobs range from Rigging Services to camera operators. There are many Specialist Production Services looking after necessary elements like location catering and of course Gaffers and Sparks who maintain the production in electricity.

Visit http://www.theproductionlist.com/ to learn more about production companies operating in London and other parts of the United Kingdom.

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Video Production Trends That You Should Be Aware Of

Video production is a broad definition which involves a number of processes such as taping, editing and distributing the finish product itself. Videos can be used for various purposes, both commercially and personally. While some people use it for personal purposes such as personal amusement or advertising a product on a small scale basis, videos are mainly made with a sole motive of promoting a certain product or person. With regards to commercial use, it can be an advertisement, a film or a music video.

Meanwhile, one of the most important factors that contribute to creating a great video is the technology being used. The technology being used in video production these days is constantly changing. With this, the quality of the videos is also getting better over time. Here are some of the current video trends that you should not ignore as you might be using them in creating your own videos:

Filming with a DSLR Camera

Using a DSLR camera for filming can provide an unexpected freedom that can be fun and exciting for any seasoned videographer. Although they are cheaper compared to a professional-level camcorder, DSLRs are also capable of creating a professional-looking video. But one of the advantages of using a DSLR for video is that you can pull it out of the box right away and begin shooting. However, you might need extra accessories to get the most out of your video with a DSLR. Today, the use of DSLR is quickly becoming a new standard because it is cost-effective and very versatile.

Shooting with a DSLR utilizes still photo cameras as well as their large image sensors. Such sensors are larger than most video cameras. When coupled with the flexibility of the large image sensor, the DSLR can shoot video in full 1080 HD.

Green Screen Technology

Using green screen technology in your video production is not only cost-effective it is also a great way to come up with a visually appealing video. Although this technique is not really new, green screen technology is a technique that is widely used in the films that we see today. The scenes look very realistic with its background but in fact, they were simply computer-generated and shot in a green screen studio.

Green screen, also called chroma-key involves merging two images together. After removing the background color of your first image, the second image behind it can then serve as your final backdrop. This provides boundless possibilities as the backdrop can be virtually anything.

New Camera Formats

One of the constantly-changing technologies in video production is the camera format. Every now and then, there is a new camera format that is being introduced and many of these are gradually being supported directly by edit system manufacturers. Several cameras these days offer the ability to record in formats that can be used directly in edit systems. With such advancement, you do not have to go through a lengthy transcode process unlike before.

However, this also poses a number of challenges such as storing the material. With these new formats, careful data management is also required in order to keep the media safe. As hard drives are vulnerable to damage, it is recommended that at least you kept three copies on separate drives to protect against loss.

Utilizing the above-mentioned technologies can be helpful in coming up with your own video production. While this kind of art requires mastery and experience to create one that you have envisioned of, you can also ask assistance from a number of video production companies which are still growing these days.

Andrew James is a production at Salt Lake City Studio that is offering green screen studio rental and other facilities and services like live streaming and video production studio rental, as well as meeting room rental in Salt Lake City. To know more about green screen studio and video production, visit the website http://www.saltlakecitystudio.com/studio.html.

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The Naked Truth About Errors and Omissions Insurance in the World of Indie Film Distribution

Errors and Omissions Insurance (E & O Insurance) is something every movie producer needs if they want to sign a movie distribution deal.

I'm not an entertainment attorney or insurance salesperson, but Errors and Omissions Insurance protects you and the movie distributor you sign a deal with from different lawsuits common in the entertainment business.

These include allegations of breach of contract, copyright infringement, defamation or degrading of products (showing trademarks on camera), invasion of privacy, infringement on title, slogan and lots of other nasty legal salvos.

It's an insurance policy that protects a movie producer and movie distributor's ass in the course of doing business in the entertainment industry.

Errors and Omissions Insurance doesn't deal with the creative side of making movies, so lots of times some indie movie producers don't plan for it in their movie budgets.

But if you want to sell your show to a movie distributor you'll have to learn what it's all about at some point.

That's unless you're movie distribution plan is using your own blog to sell digital downloads or DVDs online or hitting the streets with copies in the trunk of your hybrid vehicle.

I know more than a few indie filmmakers that make decent money selling movies that way without ever having to worry about the cost of an Errors and Omissions Insurance.

I respect their energy and push to get out there to sell their movies directly online or in person through all sorts of ways. That's a post on self-distribution left for another day.

The Catch-22 with Errors and Omissions Insurance has to do with dealing with movie distributors.
Every distribution deal coproducer Tim "Timbo" Beachum and I have been involved with from selling indie movies to reality programs has involved E & O Insurance.

After you finish your movie odds are you're going to want to land meaningful distribution for it.
That means working with a movie distributor to get released by mainstream retail outlets domestically and internationally in every medium possible.

Movie distribution deals for indie cinema usually happen two ways. A movie is screened at different film festivals, gets the attention of distributor and a film distribution agreement is offered to acquire the rights or an offer is made to buy the movie rights outright.

Or you skip the film festival circuit and contact movie distributors directly with a screener and your other marketing materials like artwork etc. If they like what they see a distribution agreement is sent your way to consider.

By this time the euphoria of making a movie has faded. You're now dealing with the business of making movies. You have film investors you have to pay back with interest.

Even if it was your own hard-earned cash invested to produce your movie you're going to want to be able to pay yourself back with interest.

Indie filmmakers all make movies from different financial places, personal motivations and creative needs. None of the reasons you make movies for really matters to a movie a distributor.

When you're dealing with movie distribution agreements it's all business. So once your film sales representative, entertainment attorney or you rep your own movie to hammer out a deal and you sign a film distribution agreement you're going to immediately get hit with film deliverables list.

The film deliverable list can knock an unprepared filmmaker on their ass. Once again the film deliverables list is a topic left for another post.

On this movie making post we're focusing on Errors and Omissions Insurance, which is one of the key deliverables a movie distributor requires you to meet promptly.

Like in a Hitchcock movie I mentioned Catch-22 with Errors and Omissions Insurance in the post, now it has to be used.

It always a lot cheaper to purchase your own Errors and Omissions Insurance from a reputable company than it is relying on a movie distributor to cover the cost.

The Catch-22 is that some, not all, but some movie distributors that cater to releasing indie produced films use E & O Insurance to gouge the eyes out of indie filmmakers with an inflated cost.

The movie distribution company will tell an indie filmmaker that doesn't have Errors and Omissions Insurance not to worry. They'll set up a policy with an insurance broker they know, pay for it and only deduct the cost from any advances or future film royalties.

Sounds good if you don't have the money to buy an E & O Insurance policy yourself considering no money comes out of your pocket upfront. But it doesn't feel good when you have your upfront advance or later royalty payments hit hard for E & O Insurance.

You can end up paying anywhere from a 200% to 400% mark up on the cost. Like I said not all movie distributors that cater to releasing indie films do this kind of BS, but there ones that do.

Every business has people out to screw you. Dealing directly with an agent to buy your own Errors and Omissions Insurance policy will ALWAYS SAVE YOU MONEY.

But I completely understand how it goes to finally finish a movie and end up not having a hundred bucks left in your budget to deal with the real hard costs of getting through film deliverables.

It's a smart move in preproduction to contact companies that specialize in producer's Errors and Omissions Insurance to compare quotes. Once you have those prices you can plug it into your budget.

I like to include it as part of the postproduction budget as a line item. It helps remind me as an indie movie producer working with a limited budget that after we wrap a movie there is still a long way to go to get through postproduction and film deliverables.

Even if you know you won't have the money for E & O Insurance after you sign a movie distribution deal at least by knowing what policies cost you can negotiate the cost down the distributor will charge you.
This is the part I call the Catch-44. Be wary of dealing with movie distributors that won't accept your Errors and Omissions Insurance policy.

They might have special requirements like your policy is not from a carrier licensed in their state or some other reason to decline your E & O Insurance.

If you've already signed a deal with them before asking if your own Errors and Omissions Insurance policy satisfies their requirements you could be in a bit of a fight.

You've played by the rules and saved money by buying your own E & O Insurance policy, but now you're bumping heads on this issue. If you haven't signed a deal move on to another distributor.

As long as your E & O Insurance policy is from a reputable company another movie distributor will honor it if they want your movie.

If you're signed on the dotted line you might have to suck it up and bite the bullet and go with a broker recommended by the movie distributor that will usually charge a bit more than you would have paid on your own.

The insurance company doesn't add the mark up. It's the movie distributor adding their juice for doing you a favor covering the cost.

The truth about Errors and Omissions Insurance in the world of indie film distribution isn't always fair or pretty, but either is life.

Get the inside scoop on writing, producing, directing, and movie distribution at Slice Of Americana Films. Check out the life and times of filmmaker Sid Kali.

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Fundamental Tips to Begin Creating an Effective Video

As you browse on the internet, you will notice that video advertising is out there everywhere. Video production is considered as a very effective way to advertise these days. Take note that people tend to spend more time on sites that have pictures and videos than those with just a bunch of words. That's why video production is gaining a lot of interests among businesses these days. But when making a video, it is said that you have only ten seconds to grab your viewer's attention. With this, it is imperative that the video you will create must have an engaging content. But for those who are new into the field of video production, they might ask where to start and what to do first? Here are some tips to begin creating an effective video.

Begin with Your Basic Idea

Just like any other project, your video production must also begin with the basic idea that you want to get to your intended viewers. Before the actual video production begins, take note that this is the start of the pre-production process.

Have a Program Objective

Your program objective is the single, overall defining idea, concept, or information that you really want your video to get across or say to your audience. This is what you want your audience to get from your created video. Have a simple program objective with a good sharp focus for the general audience to be able to understand it. Meanwhile, a very broad program objective is generally hard for the audience to understand. It should be avoided unless the video is just strictly for entertainment.

Consider the 'Angle' or 'Treatment' of Your Video

The angle of a video is a specific approach, viewpoint or slant on the subject, story or concept that you are trying to deliver to your audience. When making a video, your treatment of the subject should be real, relevant and fresh to the audience. Use an angle that will get the audience involved with the video. Although this may require a bit of time and hard thinking on your part, remember, that a good angle is one of the most important factors to a successful video. Moreover, a good angle can also transform a not-so-very interesting story into a one that can attract a wide audience.

Make a Good Script

A good video has a good written script. This is one of the factors that you should pay attention to in order to come up with a great video. To do this, you have to understand your company's products and services, as well as its unique selling points. Also take a look at your target audience and their concerns, before you even begin the script writing process.

If all of those above-mentioned points are already addressed, you can now proceed to the production stage. Remember that having an idea and channeling it through to a completed video can be demanding. But if you have clarity on what you want to make, you will have a great chances of producing an outstanding video. While the world of video production can be daunting for those who are not familiar with it, one should realize that it is a powerful medium to convey a message.

Andrew James is a Production Manager at Salt Lake City Studio - the most versatile TV, WebTV, and Video production in Salt Lake City. If you want to hire the best video production company in Salt Lake City, call us at Tel: 801 916 7597 or visit us at 8683S 700W "Studio" Sandy, UT 84070.

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New Type of Camera - The Polecam

Fixed lens camera, interchangeable lens camera, high definition camera, standard definition camera shot in 16 by 9, video disc camera, videotape camera, internal memory drive camera...

The choices seem endless and no videographer wants to make the wrong choice. Television and video production gear is a major financial investment. And no one wants to make the wrong investment when it comes to putting your hard earned money towards the tools of your trade.

Constantly evolving technology in the world of video production will give any video producer constant headaches. You realize that you want your produced videos to effectively get your message out to your audience. You work hard to write your story to ensure that it provides both information and entertainment.

One method of ensuring that your message gets across to audience is to make sure your audience sticks around until you've finished delivering the goods. This will only happen if you video or show looks good.

A good looking show must adhere to the basics of good video storytelling - well composed shots, well-lit shots, visually intriguing backdrops, and good quality audio. But what else can you add to make your show jump out at viewers and make them take notice?

I want to offer you up a new style of camera you may not have heard of before. A polecam. A what-cam you say! You read it right - a polecam. This is just like the term explains, a camera attached to the end of a pole.

This concept is not new really. Mainstream Hollywood movies and variety television shows have been using jib cameras for many, many years now. I now you're familiar with the shot. That high arcing, panoramic view you will witness at the beginning of a movie or the sweeping overview of an audience with a performer on-stage in the background of a musical performance.

This shot is powerful because it gives the viewer a fresh dynamic vantage point to view the content on screen. It provides a visual perspective that is hard to find elsewhere.

The biggest downside to using a jib camera on a jib arm is that the entire setup is quite large and bulky. The footprint of the rig can easily use take up 120 square feet of space. Part of this is due to the fact that the weight of the long jib arm must be counter balanced with many weight plates which are at the base of the rig.

A very smart solution which designers have come up with is to design the same concept but on a much smaller and lighter scale. Enter the pole-cam.

The pole-cam is engineered from a carbon fibre composite that makes it very light weight to handle. Camera technology has improved so much that we can now capture very high quality high definition images with very light weight cameras. These cameras can be HD, 3D or Digital SLR.

This is a great way to increase the production value of your shoot in a very cost effective manner. A polecam can be setup on a single light weight tripod that a single camera operator can handle.

The major benefit you get using this rig is that the camera coverage area is extremely large. It is only limited by the length of your pole used which can typically range from 8 to 24 feet.

So the next time you're wondering how you can add a dynamic new twist to a program's appearance, consider a polecam. This new technology will win over the viewers with new previously unseen camera angles while keeping the producers happy by staying on budget.

To receive 10 Free PDF reports like this one, click here: http://videoproductiontipsnow.com/

Rick Davis, an experienced Producer/Director, invites you to increase your knowledge of the video production business.

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