The motivation for this article came after reading “Directing the Non-Pro”, by Robert G. Nulph, Ph.D., in April 2009 Videomaker magazine. Between the article’s outrageously bad advice, semi-good advice and big gaps in needed advice, I felt there needed to be a response, and here it is..

Finding business video clients

While brides may be cutting back on wedding extras, the market for business videography is growing. It is difficult to imagine a product or service that couldn’t be sold better by video than by words and images. So just Google-up some local businesses and talk to the ones who aren’t efficiently utilizing video on their websites, or those who have amateurish videos.

These businesses need to boost sales (what business doesn’t?), and you hold the key to doing that. Web videos can help not only with sales, but with how-to and other support issues too. But even the seasoned wedding/event videographer can get butterflies on his first (or second, etc.) business shoot, so let’s go over some things..

Pricing your business videography service

First, your pricing. I don’t like pricing by the hour because it focuses the client on the clock instead of on his production, so we offer half-day (up to 5 hours) and all-day pricing (up to 9 hours), with a slight discount for subsequent days. We do have overtime rates that kick in on half and full hour increments.

We make it clear that breaks do not stop our clock. A client can work you over by keeping you on the set twelve hours of which you can only bill four or five, etc., if he can deduct “break times”.

I don’t like flat-rate pricing because it offers a blank check on your time. Our rates are based on our on-location time and have “basic” editing built in. Our process ends when we send an edited approval copy, of which the client can request up to one hour of editing changes. After that hour, there is an hourly charge specified in our agreement for any further changes.

Clients are loathe to spend money on editing changes and generally either accept the approval copy (over which our transparent logo covers the screen, so they can’t use it), or they at least pare down change requests to the free hour.

Planning the video shoot: Who are you dealing with?

Find out if your contact person is the one who makes the decisions or whether they report to someone else. When you’re dealing with corporations, it can be frustrating to work everything out ahead of tiem with your contact person, only to learn on the day of the shoot that their boss wants to change everything. Make sure that the decision maker signs off on your storyboard before the shoot.

Planning the shoot: Your role

We once did a shoot for a new client that included a recent reality tv show star. The client proclaimed that they were very experienced, and that they would handle the script, direction, blocking, etc. and all we were to do is run cameras and mics.

Sounded easy! And I saw that they had produced dozens of other videos, mostly by tv crews. These were not exactly “slick”, and I felt that there was huge room for improvement, but these were obviously smart, talented people, so I just ran cameras and mics.

These were mostly two-shots with company talent and the “star”. Neither wanted a teleprompter and there was no script. While they knew the product and were both very talented, the production would have gone much better with the teleprompter and script.

Before it was over, I finally did take over direction, and took control of set conditions, etc., but I should have done so from the beginning. Details like clothing accessories changing position between takes, products changing position, hair being brushed differently, made it difficult to cut between takes.

And cutting between takes was necessary because they would say things differently each time and the owners would like one line from take five, one from take two and part of a line from take three. Trying to piece all that together when you have two fast-talking talents who are running over each others’ sentences, can be quite a trick!

Insisting on a script and the teleprompter would have solved all that and made editing a one-day affair. Instead, it took me a full week to edit.

After this, I made up a waiver form for clients to sign if they decline my directing services, making it clear that I will not be responsible for anything but the technical aspects of the shoot and that extra editing time may well be needed if the production isn’t properly scripted and directed.

This client later agreed that they should have listened to my urging to use a script and that they should have had me directing from the start. They just didn’t realize how much they didn’t know about video production.

Planning the shoot: the storyboard

Whether your client is “experienced” in video productions or this is their first time, it is unlikely that they will truly understand the concept of storyboarding. In fact, many event shooters may not be familiar with storyboarding. If you’re in that group, either Google-up the term or buy a book like “Film Directing Shot By Shot” by Steven Katz.

Obviously, you’re going to need some information in order to plan this shoot. You should have a form that gets the following –

1. What is the goal of this video? (Be specific)
2. Who is your intended audience?
3. What format or formats will this be shown in?
4. Who will be my contact person?
5. Who is the decision-maker on this project?
6. How long should the video run?
7. What is the deadline?
8. List the main points you want to cover in this video.

The project’s goal may be to sell products online, it may be to have the viewers contact the company, it may be to show the viewer how to assemble a product, etc.

I don’t expect the client to know how to storyboard, so I ask for sort of an outline of the intended video and I offer a form similar to this –

Sequence 1:

We hear:

We see:

Followed by “Sequence 2:”, etc.

(This storyboard format may be helpful also)

You may not get an actual script from this outline, so the next step will be to meet (either in person or via net meeting, etc.) with your contact person and bang out a script.

But first, put your creative juices to work. Your client may have envisioned a talking head video with the CEO talking to the camera. At the least, suggest cutaways where an actual customer does the talking and you show the product or service in use, etc.

In general, it takes real talent and professionals to pull off humor in a video. Be careful, if your client wants to include humor.

You don’t want to be deciding what to say and shoot while in the middle of the shoot. Plan everything well ahead of time, then stick to the plan. If ideas start coming during the shoot, suggest sticking to the original plan, then shooting the new ideas in a later take, so the client can choose among them afterward.

Planning the shoot: Gear

We generally bring -

• 3+ cameras with tripods
• lighting kit with at least four lights: key, fill, background light and highlight
• backdrop stands with greenscreen, neutral and white backdrops
• teleprompter & laptop
• extension cords and outlet strips
• lav mics, shotguns and studio mics
• field monitor
• digital recorder
• simple makeup kit
• water and snacks for ourselves

It goes without saying that we have plenty of extra batteries, tapes and light bulbs. Rather than buy expensive camera bags, you might checkout inexpensive airport-type luggage bags on wheels, bags at outfitter stores and even places like Lowes. I recommend black, professional-looking containers, but they don’t have to cost a lot.

Talent: Pro, semi-pro or amateur?

Your clients will almost always want to use their own people as talent. After all, who knows their product or service better than they do? Often it works out fine. Sometimes it doesn’t. And if it doesn’t, you’re in a delicate position. It is your duty to give your best advice to your client, even if that advice is to not use the boss in the video.

When your pool of amateur talent won’t cut it, consider semi-pros. Your local college or university may have a drama department with students who would be thrilled to star in your production.

When working with real professionals, it is even more important to be prepared. The bigger the name, the fewer takes they’ll be willing to do.

Shooting two-shots

I prefer three cameras on two-shots. One manned camera on each head and one static camera wider with both talents. This makes it much easier to cut and requires fewer takes. One alternative is to use a single camera and careful planning. For instance, if you want to come closer as the talent makes a point, that part would need to be a separate take, if using just one camera, but might be doable as part of a longer take, if using multiple cameras.

Mic'ing two-shots

Simple, right? Just put a lav on each talent and you’re all set. Not so fast! While person #1 speaks, person #2’s mic may pick him up with less clarity (depending on their proximity and facing directions). Cutting between the two mics can be tedious and problematic.

I use lavs as backup audio only. I like to use a studio mic on a boom, between the talents, to get the main audio source. This eliminates problems like when a talent slaps his chest or otherwise fiddles with his clothing, etc., and eliminates having to cut between the two lav mics. (I’ve even had women repeatedly slap themselves when making a point, and of course they’re slapping my lav mic - Boom!)

Always be sure to get at least thirty seconds of ambient room noise. It will come in handy when you’re editing. If the client insists on shooting in their offices and there is nearby traffic noise, etc., try avoiding morning and evening rush hours and lunch times when traffic is heaviest.

Consider turning off air conditioning and refrigerators, unplugging telephones and having everyone turn off their cell phones while shooting.

Be sure you’ve “got it” before the next scene

After shooting a scene once or twice, have everyone review the tape so they can see and hear for themselves what it looks and sounds like. I usually use the wide camera and field monitor for this reviewing. I do this before going on to the next part of the script, so everyone is satisfied before we move along.

Continuity

When your talents return from lunch breaks, etc., review the last shot and make sure their hair, clothing, etc., is still the same.

Shoot with the end in mind

As your shooting, remember the client’s goal and envision their intended audience watching the scenes unfolding before you. Be sure your raw footage will give you what you’ll need to produce a video that will accomplish their goals.

The VM article

The author of “Directing the Non-Pro”, Nulph, is no stranger to strong criticism of his teachings. If you read this VM article, at least be sure to totally disregard Nulph’s advice to not allow talent to use cue cards or script and his advice to flat out refuse a CEO’s request for cue-cards.

While some amateurs may come off with stilted or drab performances when using a script, most will perform much better and sound more relaxed and natural when using one, and your editing job will be much, much easier. Our business shoots have been much better, easier and faster since we started using a teleprompter.  In the end, you are the professional and must make the call, but hopefully you are smart enough to disregard a so-called "expert" when he tells you to forego professional tools like teleprompters and especially when he tells you to disregard a client's wishes.