Joined: 02 Aug 2008 Posts: 25 Location: Philladelphia
Using the DVRebel way for Corporate videos
How can I apply the DV Rebel way in my workflow (which is pretty crappy as it is) to producing corporate videos (videos of events and trainings).
I am a one man band. I do the shoots, photography and Post (including editing, graphics, comps)
How can I do this better to produce quality media and not lose my job for looking like I don't do anything?
Wed Apr 15, 2009 3:17 pm
Joined: 31 Jan 2007 Posts: 4424 Location: Hollywood, CA
First, make sure that your corporate videos will benefit from the "DVRebel Way". Is it really what is needed? Make sure you choose the correct format and framerate. Do you need 24fps, or is 30p or 60i more appropriate? In LA, the local high school and college sports channel has made an aweful choice. I fear someone on their non-network tech crew read The Guide and decided that 24p is a good choice for shoot sports. It is not. So make sure your methods fit for your subject.
Beyond that, I would certainly follow The Guide for handling files (beyond framerate) and color correcting to make sure the video looks it's best.
Regarding not losing your your job, just remember that it isn't about following The Guide, it is about delivering what is asked for and expected. If they are used to expecting and receiving a very video looking 60i video, if would probably not be in your best interest to deliver a cinematic looking 24p "film". Unless you want to take that chance. Maybe they'll like it.
Wed Apr 15, 2009 3:39 pm
Joined: 12 Aug 2007 Posts: 597 Location: Tallahassee, FL
As a Rebel who works in the corporate/commercial world, I can tell you: you will not lose the job for "looking like you don't do anything" if you work reb-style. As Gage says, your job is to make sure the client gets what they want, so be sure to show them samples of your work so they are not surprised. And remember a lot of what you can do will depend on the end format (podcast? DVD? HD over internet?).
The big key is post. If your samples (and what you can actually deliver quickly) look as good or better than the "big boys", you will get jobs. Just be sure you are not losing money by taking too long on post! And keep giving your clients the "fast-cheap-good" spiel.
First, shoot/edit the highest quality video you can. If the client needs 320x web video, shoot/post in HD(V) (or DV, if they insist on 4:3 framing). This will allow for re-purposing of the footage if necessary later. If you are working with re-usable media, be sure to back up to something you can hand to the client (tape, DVD, hard drive). Do the cut, get client approval. Make sure to take notes on the changes and to review them with the client before starting. Re-cut with their changes. Do not apply CC, etc. until you have a locked cut. You might give them a short piece that has been CC'ed so they know what the final video will look like, but do not waste your time until you have an approved cut. (I let clients see/DL the edits over the internet so I am not spending a lot of time burning discs or going to their offices.)
Don't forget to light the location, and to make sure the lights are color matched! I have one client who uses front-projected PowerPoints in a Flo-lit conference room, and tends to walk into the light from the projector. CC'ing him the first time was long painful process, next time I gelled the Flo's to match the tungsten-balanced projector light. If you shoot multi-cam, be sure to match the cameras before the shoot.
Two last things:
1) AUDIO. Make sure it is crisp and clean. Use lavs.
2) Money. Charge what your time is worth. Do not fall for the "do this one free (or cheap), I have lots more work for you" line. This work will NEVER appear, and if he/she comes back he/she will want another deal, because it was "free last time". I know it is tough out there right now, but stick to your (financial) guns. As long as you are not pricing yourself completely out of the market, you'll be OK.
Rebel means doing the absolute best job you can with what resources you have available. And if you are working for a client, make sure you are meeting their needs, as well.
Hope this helps. Sorry if it's a little basic. Or rambling.
Don't underestimate the use of a GOOD QUALITY shotgun mic. I do most of my work in corporate video and, unless we are in a very noisy environment, I always use a REAL shotgun, not the-cheap-hand-mic-on-a-broomstick. The shotgun gives "warmth" to the voice and a nice touch of environment sound, without sounding flat like what we get usually with lav mics. Each mics has it's own use. Just choose a shotgun that is not too "wide" or too "narrow".
And today, good shotguns are not necessarly very expensive: a Rode NTG-2 is a very good acquisition at $269, especially when many pros compare it to be as good as the much more expensive Senheiser. Or close enough anyway.
I talked with a pro sound mixer/recordist who wasn't really impressed with the Senheiser mics. I don't remember what kind of shotgun he was using, but he had a fairly in-expensive condenser mic that was really high quality ($200-300). He uses the condenser for indoor recording, and the shotgun for outdoor recording.
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot vote in polls in this forum