Thoughts On Being A Documentary DP

I've been dipping my toe in the director of photography pool. It's a whole new experience for me.

Here's what happened. My company, Wheelhouse Communications, started investing in equipment. We purchased a brand new Sony FS700/OdysseyQ7 combo and then picked up a SONY PMW-F3.

After handling these cameras and dealing with lenses (some we bought and still some we rent), it became pretty clear that I knew how to set up these cameras quicker than the DPs we hire. Also, I knew their quirks. F3s tend to moiré without ND. FS700's can get grainy in the shadows, etc. 

Since I didn't want to risk being a DP on client work, I decided to find a story I could shoot on off days.

For my first subject, I picked the Christmas tree sellers who invade Manhattan after Thanksgiving and set up shop for four weeks hawking trees. I got the idea when I was crossing the street in my neighborhood looking at a Tree vendor who strung up some lights across his display of trees. I thought to myself, "That would be pretty to film at night." 

So I asked someone I worked with to scout around the city for a couple hours and to find a friendly person who wouldn't mind speaking to me on camera about selling trees.  We scouted on a Thursday. We shot on a Friday with a PA and a Production Coordinator/Boom holder. I edited over the weekend and bam! Pop Up Men was born.  

Here are some lessons that I've learned along the way to DP-hood and shooting with prime lenses. 

• Invest in the best tripod you can. The precision of your tripod, the ease in which it can be manipulated, has a direct result on the quality of your filmmaking.
• If you are doing documentary, stick with one lens most of the time. I find a 50 mm to be the best lens for me. It's not too far off from the way our eyes see things.
• Use zebras to help you with not blowing out your subjects face. I set them on 80% and then like to see the lines barely dance on the hottest part of the face.
• Keep the lens on the person! You can't think of your next shot while you're shooting your current shot. Find your shot. Breathe. Keep it there.
• Do your first shoots on cloudy days. When the sky is overcast, everyone has a nice soft look and you don't have to deal with harsh sunlight blowing out your scenes. Check out this interview with Woody Allen where he says he doesn't like sunny days either.
• In terms of compositions, here's a short list of what to look for: think of the screen in thirds; look for foreground elements; look for lines; look for balance and symmetry but then also don't make it too perfect -- I know that's contradictory. Once you start seeing the frame as made of these elements you can shape, you can decide to use or break the rules. There are tons of videos and books on this subject. You could go nuts reading about this. 

Here's the video! I was thrilled when the film was picked up by LaughingSquid.com. Many thanks to my colleague Dana Salvatore for finding these gentleman.

//laughingsquid.com/pop-up-men-a-look-at-the-frigid-work-of-new-york-citys-christmas-tree-street-vendors/

What are your newbie DP tips?

Hitchcock Experimented In Every Movie And Why You Should Too

My undergraduate film professor, Jeanine Basinger, had a theory that Hitchcock was an experimental filmmaker. 

It's agreed that Hitchcock was a master stylist and famous for the subjective camera that with editing made viewers feel suspense.
 
His style was based on the audience aligning with the motivations of his characters. When obstacles get in the way - the audience more times than not- becomes a helpless voyeur. Viewers of Hitchcock are constantly feeling suspense because they are trapped when they know more than the characters. We constantly want to say, "Hey, watch out!" to the lead characters.
 
I was just watching a famous scene from Marnie on TV. Tippi Hedren plays Marnie who is stealing money from her office and she's tip-toeing out the office. She takes off her shoes because she realizes a cleaning woman is working outside the office in the hallway. 

Marnie puts the shoes in her coat pocket upon exiting. With the stolen money in her purse, she tip toes out. The camera keeps focusing on a loose shoe in her coat. It's going to fall down. It's going to make a noise and Marnie is going to be found out. "Marnie, look at your shoe!"

However, Marnie doesn't know that her shoe is falling out of her coat. Only we do.The shoe falls. Makes a sound.
The cleaning woman doesn't notice. Everyone is surprised and relieved once more. Marnie and the audience. When Marnie exits the office we learn the cleaning woman is hard of hearing. 
 
In Psycho, seeing Anthony Perkins' shadowy figure enter Janet Leigh's bathroom when she's taking a shower is another example of knowing more than the characters.

Well, that was a bit of a tangent! Sometimes I need to talk Film 101. 

But getting back to my point, Basinger asserted that the master stylist, Hitchcock, went out of his way to experiment. Some examples:

• Lifeboat. It's as if Hitchcock said one day, "I want to tell a story where the action never leaves a tiny row boat." Basinger called this a "limited space" movie. Das Boot is another famous one.
• Rope. Hitchcock makes an experimental movie where there is not one edit (except when he changes film stock canisters).
• Psycho. Hitchcock makes an experimental movie where the beautiful star is killed off in the first 1/3 of the movie. Unheard of.
• The Parradine Case. Hitchcock eschews all of his past subjective techniques and with long takes instead of point of view cuts makes a film where we don't naturally align with anyone.

It's a good lesson to remember. In your own video, sneak in an experiment. You'll stretch yourself and probably more important tweak your winning formula to keep it fresh.

Here are some examples:

1. If you've always shot interviews with the subject looking at an off camera interviewer. Use an eye-direct system (or make your own with a teleprompter) to have the interviewee look directly in the camera. There is a subtle difference.
2. Mix up the expectations. Start your video in one genre and then turn it upside down. Here are two examples of this technique.
3. Figure out ways to use the latest technology by building them into the budget. Use an octocopter. Shoot super slow mo with a Sony FS700. Check out a DJI Ronin -- a new way to achieve that smooth steadicam look. Be safe and partner with experts who use these toys day in and day out.
4. If you've never done stop motion, figure out how stop motion could enhance your b-roll. I saw an Errol Morris film and then tried the same technique here (see the apple at 1:08).

Experimenting is the key to learning and keeping you at the top of your field. You may be surprised that the result will be clients wanting more.

 Photo Credit: Thompson Rivers University CC BY-NC-SA 2.0

10 Things Everyone Does On A Video Set

I loved this post over at raindance about the 15 Things Everyone Does on A Film Set. 

So to continue the meme, I thought I would tell you about the 10 things everyone does on my set...

1. Congratulate ourselves on packing the cart tight. Yeah, it's the simple things in life that are most satisfying. When a grip, PA or I pack up the cart like a veteran bricklayer, we're all very proud of ourselves 

2. Chatter about the latest technology. "Hey, did you see the new Sony FS7?" "I saw some 6K footage last night."  "I worked with a Octocopter on my last shoot."  "Check out my SDI cable, it coils!" During set up there's always a little talk about what's the latest bell and whistle to buy at B&H, Adorama or AbelCine.

3. Leave half-filled cups of coffee around and forget whose coffee is whose. PA's get extra points by putting initials on everyone's coffee cup. Note: PAs: Bring a sharpie to set.

4. Take a picture of the set but in the monitor that is attached to the camera. Feels very Brechtian to do this. 

5. Remember that re-booting the camera is the most effective way to figure out camera hijinx but not remembering this until I've looked in the camera menus a dozen times in vain.

6. Chat during a shoot when sound isn't being recorded. You'll notice the loudest place in the world is when a film crew is shooting without audio.

7. Futz over the back light. It's a game of degrees. That's too much. No that's too little. Okay, just right.

8. Make fun of the guy who is particular about where to put stuff back in the cases. I am the guy they make fun of. But if it doesn't get put back in the right place, it won't be there next time.

9. See Number 1. Yep, again as we leave.

10. Give everyone a hug.  We battled; we won. We will reconvene and do it all over again soon.

Be A Shrink, A Bartender And A Rabbi On Set

A New York Times obituary by Bruce Weber for Sheldon Patinkin (a major force in the Chicago theater scene) ended with a perfect description of Patinkin's note giving style.

Written by Jeff Perry of Steppenwolf fame and delivered at a recent awards ceremony that honored Patinkin:

“As most of you know and have benefited from, Sheldon is a world champion note giver. His process is gorgeous; like movements in a symphony or rules of comedy, it comes in threes.

“First are the Socratic questions that lead you to this pleasantly shocked re-understanding of your intent. Then he continues with a great, blunt, nonjudgmental articulation of what he saw compared to what you intended. And finally, as you launch into a spin cycle of anxiety and self-justification about all the obstacles sabotaging your genius, he has the knack of being able to steer you, like a shrink, bartender and rabbi rolled into one, into the belief that the fixes are easy, they are absolutely in your reach, and there’s plenty of time to work them in.”

What a great reminder this is when working with professional talent or non-professionals, to bring all your intelligence, non-judgements and patience to set by being a shrink, bartender and rabbi all rolled into one.

Make 'Em Laugh

Libba Bray, the New York Times bestselling author, moved to New York after college and wanted to be a playwright. After five unsuccessful plays she wrote her first novel, A Great and Terrible Beauty, in 2003.  She hasn't stopped writing books ever since.

But if you ask me, she could have easily gone to Chicago after college and took up improv -- eventually moving to NYC -- and in my alternate-reality fantasy -- she would have been discovered by Lorne Michaels...

A couple weeks ago, Libba asked me to produce and direct a video to accompany her opening monologue at this year's Audie Awards (honoring the best in the audio book world).

Let's all hope she invests more time making video.

Follow Libba at //twitter/libbabray.

Make A Gift

If you don't know Maria Popova's brilliant blog, Brain Pickings, get to know it. Her blog is filled with what she finds interesting and most of what she finds interesting is the creative mind.

She recently posted a short video by the New York Times best-selling YA author, John Green, on the advice he gives people when they ask him how to be a writer. He says,
 

"Every single day, I get emails from aspiring writers asking my advice about how to become a writer, and here is the only advice I can give: Don’t make stuff because you want to make money — it will never make you enough money. And don’t make stuff because you want to get famous — because you will never feel famous enough. Make gifts for people — and work hard on making those gifts in the hope that those people will notice and like the gifts.

Maybe they will notice how hard you worked, and maybe they won’t — and if they don’t notice, I know it’s frustrating. But, ultimately, that doesn’t change anything — because your responsibility is not to the people you’re making the gift for, but to the gift itself.

This advice holds true for aspiring filmmakers, too. This was the thought in the back of my mind when I made this short film about a tire repair shop owner in Harlem. Please enjoy the gift.

Tire Man from Wheelhouse Communications on Vimeo.

Photo credit, (CC BY-NC-SA 2.0) Joey Rozier

Think Of Video Like The Brits Think Of Theater

I just plunked down $650 for four tickets to a Broadway show. Insane. I had read the NY Times review for The Gentleman's Guide to Love and Murder and thought it would be a cool holiday treat for me and my family.
 
At those prices, I don't see much Broadway theater. We tie it to an event; we save it for the holiday weekend, the birthday, or the anniversary.

I hate that.

Right after graduating from college, I spent a few months working and living in London. The first thing I noticed was how easy and accessible it was to see quality productions of plays. There were so many venues: London's version of Broadway (which no one went to except tourists) called the West End, pub theatres like the one pictured above, state-run theaters like The National and The RSC plus a bunch of really terrific small houses littered in just about every neighborhood. The prices were around $20 a ticket for pretty much everything.

My friends and I didn't have to plan weeks in advance to see a show. In fact, we went to about 4 or 5 shows a week - usually deciding that morning what to see.

Going to the theater is part of the daily diet in the UK.  

It's like how we in the U.S. go to the gym here 3x's a week; people in the UK are going to the theater 3x's a week.  

Man, I miss it.

Okay, I know that there is regional theater and off-off broadway shows here in the states/New York City, but my big point here is how companies and organizations need to start thinking of their video marketing like seeing plays in Britain. 

Don't make your video a one-time annual event. Make video a part of your communications diet.  Spread your video marketing budget out over twelve months.

There are many production companies (including me) who would love to be at the planning stage at the start of a business quarter or year to figure out where economical video communications could be planned and executed that sent out a continuing pulse rather than a one hit at the end of year.

Make that a 2014 priority.

Meanwhile, next year, I'm going to join Lincoln Center or The Roundabout for a quarterly meal of theater.   


By Photo: Andreas Praefcke (Own work (own photograph)) [CC-BY-3.0 (//creativecommons.org/licenses/by/3.0)], via Wikimedia Commons

The Production Assistant You Never Want To Let Go

More best practices!  Read past posts on The Audio Engineer You Never Want To Let Go and the Editor You Never Want to Let Go.

But today, let's talk about being a PA or Production Assistant. Good PA's don't stay being a PA for very long.  They start climbing the ladder pretty quickly. I've seen PA's go into Location Scouting, Propping, Directing, and Producing. Here's what I look for in a great PA:

• Arrives 15 minutes early. A dynamite PA doesn't slouch onto set with a with a cup of coffee in hand. Nope. She shows up early and is ready to get the day in motion.
• Has a printer at home.  What? Why? A good PA has printed out the call sheet. Perhaps the producer or production manager has sent out pertinent shoot information like client access numbers, crew numbers or security information. Some jobs don't have a production manager. Always be prepared. If a producer has sent you information -- print it out and bring it.
• Knows where the best egg sandwiches are hiding. A good PA does a little reconnaissance about where the shoot is and what are the delicious things to eat in the neighborhood. You will be everyone's favorite if you've pre-yelped the location.
• A great PA knows a little about everything. You are not going to be quizzed and most crew members are happy to educate, but do a little studying on every job. Know what a C-stand is and how to put one up, as well as what is 29.97 referencing, what is Pro Res, what is white camera tape, know the terms tungsten and daylight. You get the idea.
• Avoids sitting. Sitting tells me you don't know what to do. Ask someone how to be helpful.
• A stellar PA is never seen engrossed in his iPhone.
• An awesome PA wears something sensible. Production work is dirty. You're often on all fours gaff taping cords to the floor, opening cases, moving stuff. But that doesn't mean sweat pants. 
• A great PA asks before tweeting or facebooking out shots of the crew/set/client name.
• A terrific PA leaves the set after you do.

Another past post on PA-ness is here: All I Really Know (about Social Media) I Learned Being a Production Assistant (PA)

Photo credits: CC BY-NC-SA 2.0 Terri Oda

Should We Ban Mobile Devices On Set?

I love my phone more than anyone but the proliferation of mobile devices on production sets is hurting the production and the job prospects of the crew members who are burried in swiping and typing. 

Waiting. That's what you do on set. Shots take time to prepare and even more time to execute. Clients always say, "How can you stand this? Nothing's happening."  So the urge to tune out is strong.

However, one thing leads to another and sometimes directions change instantly; setups shift on the fly.

I've seen wonderfully skilled intelligent production people turn into mobile device zombies after they have felt that their job for a particular shot is done.

Here's the problem. Being on set is all about anticipating. An on-the-ball production manager, grip, PA, props person, etc needs to be watching what's going on. You never know what will happen. The next improvised shot could be on the other end of the location.  

If the PA saw that the DP and director made the fluid decision to shoot elsewhere, she would know to start rolling extension cords over there before another word was said.  Instead, the PA is swiping and typing. Head tilted down. In her own world. Time wasted.

I'm not likely to call that person when there is a next time.

Sure, we're all freelancers and texts and calls come in about past and future jobs. I'm not talking about that.  I'm talking about down time on a set for crew members has now turned into facebook-twitter-texting-instagram-imdb-linkedin-pinterest time.

One of our long time clients at Wheelhouse is a supplier to the military. At their locations, cell phones, laptops and tablets are not allowed. You have to check them at reception.

On shoot days, you can't believe how efficient we are.

What do you think?

photo credit: CC license 2.0 Buzzfarmers

Remembering Occupy

September 17th, 2013 is the second anniversary of the start of the Occupy movement.  Where did all that rage go? It feels longer than two years since OWS. Check out the video to remember.

Backstory: here in New York City where I live, OWS camped out in Zuccotti Park in Lower Manhattan and Mayor Michael Bloomberg was patient at first but sent the police in after roughly 8 weeks to break it up. While OWS was going on even Mister-Corporate-Video-Producer-Chris Ryan had to check it out. 

I don't need to tell you what it was like -- there have been thousands of blog and news stories, but I felt compelled to document - in my own way - the feeling down there.

A few days later after my initial visit, I brought down a copy of the Allow Us To Introduce Ourselves text from the tumblr blog, We Are The 99 Percent which summed up to me in 300 odd words what the zeitgiest was down on Broadway and Liberty Street. I asked two dozen people to read a few lines each in front of a camera and I edited it together with the help of a some terrific volunteer professionals (watch the credits in the video above). 

I emailed it to the We Are The 99 Percent blog and they put it up on a page the next day.  Dozens of Tumblrs re-blogged it and thousands saw it. That was neat.

If you've ever done Man in the Street interviews in New York City you know that it can be difficult to get blase and too cool for school New Yorkers to be on camera. Not at OWS and not at that moment in time. My biggest takeway from that day was how people lined up to be part of this video. People desperately wanted to be involved. It was a unique moment here in the City where you spend most of the day avoiding eye contact. Everyone wanted to express themselves. 

While writing this post, I discovered that the We Are The 99 Percent blog put my video on the same page -- where the orignial text lived when I first clicked upon it in September 2011. Thank you, 99 Percent blog.

Don't Use The J Word

When I was a staff producer at AT&T headquarters in the mid-nineties, I was executive producing and producing/directing about 20 shows a year. 

One of my oldest friends, Karl Schurman, was a seasoned DP back then and I would frequently hire him. We were working on a job and on a second day of a two-day shoot I asked him if he could just re-shoot something quick that needed a new line added to the dialogue.

"It won't take too long. Could you just do it?" I repeated.
"You used the J word," he then answered.
"What do you mean," I said. 
"Just, " he replied and then paused. I was silent too while I thought about my last sentence.
A smile grew on my face.

He was trying to tell me that what I was asking him was not a "just."  The re-shoot would take time, energy, resources and it could throw off what we had planned to do that day.  

But saying "just" when you want someone to do something is something that I did all time and Karl kept stopping me whenever I said it. When you are asking someone to do something the tendency is to make it seem like a trifle to them. Also, you don't want to abuse someone so saying "Just" let's you off the hook a bit. "It's just a little thing!"

Karl was great at getting me think in the other person's shoes. Now I (try to) do the opposite.

If Karl was still working in the business today I hope I would  tell him,
"I know this is going to take time and you've brought so much to the table already on this.  We need to do make a change from yesterday. Tell me how we could re-do it while keeping on budget and schedule."

Karl would know exactly what to do and do it.

After 30 years in the business, Karl is a teacher at a Waldorf school in New Hampshire.  

photo: ftzdomino CC License.

Snackable, Emotive And Sharable

"Show, don’t just tell. In a world of increasingly limited attention spans, we need to harness the power of video and photos because they are more snackable, emotive and sharable. We must also provide deeper, more informative visuals, such as infographics, as well.

Aim to have the dominant creative idea. The stranglehold of advertising on the marketer is now loosened."

From The History (and Future) of PR by Richard Edelman.

The original post is here.

Watch a snackable video with (info)graphics I produced that originally appeared in The Daily.

Dying Is Easy. Comedy Is Hard.

Producing comedy is the closest I will ever get to walking on a tightrope. In comedy, you know by the end -- if you've reached the other side -- or have fallen into the net. Appropriately, the choice below is funny or die.

Special thanks to my comedy writing partner, Josh Lebowitz and check out Rob Donnelly's website for more information about his illustrations.

Shooting With Canon HDSLR: A Beginner's Equipment List:

The following is a guest post by Stephen Vanderpool, a writer for NerdWallet.  The Way We Watchwelcomes guest posts on the subject of video making, video in social networks, and the trials and tribulations of working in the field of video. You can reach me on my contact page for more information. -- Chris

High quality video production tools have grown tremendously accessible over the past decade. Achieving a professional level of video craftsmanship will always demand a high level of skill and experience, but acquiring the prerequisite resources requires only a small monetary investment. Though HDSLR shooting is relatively cheap compared to what was expected of video professionals years back, making the initial purchases can be daunting.

As a recent graduate plunging into the competitive world of videography, I've begun the long process of gathering the equipment necessary to begin my own freelance production endeavors. If you're like me, you're serious about video but not ready to drop $10,000+ on a RED EPIC or Sony F3. Luckily, HDSLRs provide a cheap alternative for folks like us.

Before making my initial purchases, I spent months clicking through forums, watching YouTube product reviews and asking my video pals for recommendations. The process has been long but rewarding, and I'd like to pass what I've learned onto prospective DSLR shooters. Here's my quick beginner's guide to assembling a DSLR arsenal from scratch.

1) The camera

Obviously, you'll need a camera. Let's assume you're jumping on the DSLR bandwagon. What are your options? As far as I'm concerned, you have only three. The Canon 7D, 5D Mark II or 5D Mark III. Sorry, Nikonians, but Canon is winning in arena of DSLR video. Before the release of Nikon's D800, full-frame 1080P video shooting was dominated entirely by Canon with the 5D Mark II at the forefront. Now, Nikon is at least competitive, but HDSLR videographers still seem to favor Canon. The Mark III works better in low light, is less prone to moire and, as the successor of the Mark II, has already earned the trust of video professionals.  Whenever I see a gig posting that stipulates a specific DSLR, it is almost always one of these three Canon products.

The Canon 7D is the cheapest of the three, running at about $1,550 new. The 5D Mark II is sitting at $2,100, and the 5D Mark III is priced around $3,500. The differences between the three are multifarious, but the most significant variance is in image quality. Simply enough, the more you pay, the better your picture. Each price bump provides more megapixels, heightened light sensitivity and better color depth. Check out YouTube quality comparisons to get an idea of what will meet your needs. If videography is a serious, long-term endeavor, you might as well start with the Mark III if you can afford it.

Keep in mind, the industry is always changing. Canon just released the C300--a camcorder with an EF lens mounts. While a lot more expensive than the 5D, it demonstrates the evolving needs of filmmakers and could prove to be a game-changer. (Editor: And, there are a lot of people watching this year's release of Black Magic's Cinema Camera. Phenomenal features at a phenomenal price).  

2) The glass

Acquiring quality lenses is just as (if not more) important as obtaining a proper camera. To ensure seamless compatibility, I recommend sticking with Canon lenses to match your Canon camera. First of all, do NOT buy the kit lens. Kit lenses are generally low in quality and of little use to video professionals. Purchase all of your glass separately.

Secondly, know the difference between zoom and prime lenses. Which you choose will be contingent on the type of work you do. Prime lenses (fixed focal lengths) produce a cleaner, higher quality picture, while zoom lenses provide versatility for less predictable shooting. Generally, scripted video (films, commercials, instructional videos, music videos, etc.) will benefit from the quality of prime lenses. On the other hand, videographers shooting events (concerts, weddings, parties, etc.) will appreciate the ability to adjust focal length with a flick of a wrist.

Every prime kit should begin with a 50mm "normal" lens. The 50mm focal length is standard for video production as is it produces an image comparable to that of the human eye. Canon offers 50mm lenses with apertures of 1.8 ($104), 1.4 ($359) and 1.2 ($1,439). The primary differences between the three are low-light functionality and bokeh. Again, check out some YouTube comparison videos to see which is best for you.

Assess your needs to determine which lens you'll need next. In truth, you might be able to get away with using a single lens (or renting lenses) for your initial gigs. If audio equipment and camera accessories are more important, you can always pick up lenses later when you have more money to invest. Chances are, you'll want to move onto a good wide angle or telephoto lens next. There are a ton of options out there. Explore! Research is key. Personally, my ideal three lenses to kick off a prime kit would be the 50mm 1.2, 14mm 2.8 and 85mm 1.2 (all super expensive). If you're aiming for top-quality glass, stick to Canon's L-series options.

Of course, there's nothing wrong with mixing prime and zoom lenses. Another good strategy is to start with a 50mm, then pick up a wide zoom (16-35mm, perhaps) and a telephoto zoom (maybe the good ol' 70-200mm). Though you sacrifice some quality, this method is a lot cheaper and covers a large range of focal lengths.

3) Audio equipment

DSLRs are notorious for awful audio. Out of necessity, event videographers may need to plug their microphone directly into the camera, but scripted video should always use a separate audio recorder. Do NOT skimp on audio equipment. Seriously. Nothing ruins beautiful cinematography like shoddy sound. If you don't have the funds to invest in good equipment, you might be better off paying an audio engineer on a gig-by-gig basis. But if you want your own equipment, here are the essential elements to a basic audio setup:

• Condenser (shotgun) microphone
• Audio recorder
• Boom pole
• Shock mount
• Headphones
• XLR cable

Expect to spend at least $1,500. Rode products are popular right now for independent filmmakers, but there are many, many options out there. Do your research and stick to trusted brands. Sennheiser makes excellent microphones, K-Tek produces quality boom poles and shock mounts, Tascam has great recorders and Mogami makes topnotch XLR cables. There's a lot more flexibility in the audio than there is in the camera department, but do not, under any circumstance, settle for a mediocre product. If you're taking audio, make sure it's clean.

4) A tripod

The last item you absolutely need before you hit record is a tripod. If you can't invest in a good one right away, a $50 throwaway from Best Buy will provide a short-term solution. But sooner or later, you'll need a heavy-duty fluid head that provides a solid anchor and smooth maneuverability. A proper tripod will cost a minimum of $500 and, in many cases, closer to $1,000. If you're looking for the best, Manfrotto is generally regarded as the most reputable tripod crafter. 

5) Everything else

Once you have a camera, a lens, an audio setup and a tripod, you're ready to film. Of course, if you plan on editing your own footage, you'll need a computer and software, but that's another story entirely. Here's a short list of items you may want to invest in once you get the ball rolling:

• More lenses
• Lighting kit
• Slider
• Monopod
• Rail system
• Follow focus
• Matte Box
• Monitor
• Extra batteries
• Extra memory
• Clapboard
• Cases
• C-stands
• Reflectors

Remember: Never buy before consulting the Internet for DIY options!

Stephen Vanderpool is a writer for NerdWallet, the web's coolest/nerdiest finance site.

Photo CC license by Cindiann

The On Location Audio Engineer You Never Want To Let Go

I received lots of good feedback on twitter on the Editor You Never Want To Let Go post. Here's the next one in this series of people you never want to lose:  On set audio people.  

In all my projects (over 200) I've only worked with one female audio engineer and the rest were males.  I'm not entirely sure about why that is. My guess is that some jobs require booming which can be physically challenging.  

If you are a female audio person, chime in and let me know how you started so we can get more of you in the industry.

So here we go. Top ten qualities of an audio engineer.

1.  He smells good. Clean breath and no BO. Yes, you read that right. Audio people have to get very close to the talent. They have to attach a tiny microphone on someone's lapel.  If you smell bad, then that's going to effect my talent somehow and probably negatively. 
2. He looks like his mother would be proud of him. Have you ever asked a female talent who is wearing a blouse to string a mic up her shirt. If you look like a bum, the whole thing gets awkward.
3. He knows that the cans on his head are not the way the audience will hear what he's hearing.  The best audio people will ask how is the tape is being used? Will there be music? Will it play over a loud speaker or on the web? With the information in hand, a good audio person will edit in his mind what ambient distractions are worth doing a re-take for and what can slide by.
4. He's discreet. The audio guy will be the first person to know if something doesn't sound right.  I appreciate engineers who can pull me aside or find the right moment to say, "Hey, something didn't sound right on that last take." The wrong way to do it is to whip off your cans and shout, "That one sucked, people!"
5. He treats his equipment like a newborn.
6. He's great with figuring stuff out. The best audio people that I've worked with, I like to imagine, have at some point in their childhoods, took apart radios, computers and other electronics just to see how they worked. They also had the brains to put it all back together.
7. He's a team player. Yes, sound is their domain. But the guy you want, pitches in after he's all set up.  He's putting tone down in the camera. He's taping cords to the floor. He's tested his feed and checked playback.  
8. He has no ego. Great sound people love to support. It's in their blood. They are essential, yet the great ones blend in as just a part of the crew.
9. He's slightly crazy. Yes, to be in love with sound and sound alone - you have to be a little nuts.  They know more about audio than you'll ever want to know.  And that's a good thing.
10. A great audio guy reminds you to get room tone before the talent has left the room.  

Tell me about your audio engineer...

Photo credits: Rusty Sheriff creative commons license.

The Video Editor You Never Want To Let Go

Look for video editors that have these qualities:

• He has ten years of experience.  There's just no substitute. Editing is a skill like any other.  But if you haven't put in the time, you're not going to be on my "go to" list.
• She looks at all the footage. Sounds nuts not to look at all the footage but it's easier not to. Some editors just grab the first things they see.  I've seen people do it. There's no short cut.
• He's musical. As a general rule, the finest editors I know also are pretty competent musicians. It makes a lot of sense... editing is all about timing. Having an ear for beats is invaluable. Certainly there are exceptions, but it helps.
• She's funny.  Editing is about surprises. You want to shake up the audience to keep them watching. Someone who can make me laugh tells me she can catch me off balance with her edits as well.
• He dabbles in After Effects or Motion. Certainly some projects don't require it, but the editor who can nimbly switch from AE to FCP is a keeper. It also shows me that you're willing to stretch and learn new things.
• She is a collaborator.  Is it going to be a battle every time you elongate a shot, delete a white flash, or have to trash the last hour of work? Stick with editors that listen and then make your ideas better.
• He is persistent.  Editing requires time in the seat. A 9 to 5 mentality is not going to do it for me or the project. And it's not only time, it's a drive to make it work, to finish and to conquer.

What makes your editor great?

Making Great Video Stories Part 2 - The Obsessionist Video

As a video story teller, I'm always looking for a way into the story.  How can I tell this story in a way that is interesting?

In Part 1 of Making Great Video Stories, I wrote about the Process video.  Another way to ensure you're telling a compelling story is to tell your story through someone who is obsessed.

People who are obsessed are fascinating.  They usually have to juggle their obsesson with their daily lives, money, their family, and their job so there is an inherent conflict right there.  Conflict good. 

The other thing that is great about telling a story about someone driven by something is that they have amassed, most likely, a huge treasure trove of assets.  The assets could be record albums, or business cards, or love letters. 

How does this help us?  B-roll!  Great b-roll makes for a great colorful story.  

At Wheelhouse Communications, I pitched to the The Daily (the iPad only newspaper) a video about the release of a new Dr. Suess book, The Bippolo Seeds and Other Stories.  The way into the story was to focus on Dr. Charles Cohen a Dentist by day and a Suessologist by night.  What is a Suessologist?  Click the video to find out. Can't see the video? Click here.

Now go out there and find the obsessed ones!

Photo credit CC: Rachel C

Attention Must Be Paid

The line from Death of a Salesman "Attention must be paid," is on my mind.  And, it's not because there is yet another revival of the 50+ year old play now in previews.

Note to self: I've got to remind myself to get tickets to this show before the reviews come out -- because Phillip Seymour Hoffman will probably be amazing.  (Trivia: he played Willy Loman in a HS production).

But this line resonates with me because earlier this year in the span of six days (2/21 - 2/27) the world lost three theater professionals who should be remembered.

Barney Rosset (1922-2012). Rosset bought Grove press for $3000 in the early '50s and brought D.H. Lawrence and Henry Miller to our shores.

His first major publishing juggernaut was Waiting For Godot by Samuel Becket.  He paid $150 for it and gave the author a 2.5% royalty.  The play has sold more than 2.5 million copies.  But Rosset also subsequently published plays by Brecht, Alfred Jarry, Clifford Odets, Jean Genet, Joe Orton, Ionesco,  Harold Pinter, and David Mamet to name just a few.  

I remember collecting Grove plays because I thought -- if it was published by Grove -- it had to have some merit.  Who would dare publish playwrights with the ferocity that Mr. Rosset once did?  Perhaps only Jeff Bezos has the means, but I doubt he has the world view and taste to have Ubu Roi and American Buffalo in the same hemisphere.

Theodore Mann (1924-2012). Mr. Mann co-founded the Circle in the Square theater which still stands on west 50th street.  The theater moved there from Greenwich Village in the early seventies. 

Mr. Mann produced and or directed over 200 productions.  He was instrumental in shaping the careers of Al Pacino, Jason Robards, Geraldine Page and Colleen Dewhurst.  He produced the American premier of Long Day's Journey into Night.  With just that one production, his place is theater history is secured.

Howard Kissel (1942 - 2012)  Howard Kissel wrote about the arts his entire career.  He was a reporter and critic at Women's Wear Daily and then at the Daily News for twenty years.

A quote from the Kissel Daily News obit struck me,

“He always said he was the luckiest person alive, because he got to do everything he ever wanted,” said John Sullivan, a friend and former editor at The News. “He got to live in New York, attend all the shows and museum openings, write about theater and write books about the great people of theater.”

His books include a biography of David Merrick, the lectures of Stella Adler and his most recent "New York Theater Walks" were all published by Applause Theater Books. 

He seemed like a person you could just not hate as the user comments from this nytimes.com blog post attest: //artsbeat.blogs.nytimes.com/2012/03/01/theater-talkback-howard-kissel-a-man-who-relished-culture/

Thanks for paying attention.

On to the next production!  

Another Priceless Video Tip: Don't Use That Chair

I've talked here about ways to get a better looking shot.  There's the The $4.95 Solution To Make Your Videos Better and remember the importance of showing a philtrum.

But here's another one.  Don't use an executive chair when you're doing an interview.

Executive chairs are super comfortable and make you feel regal. However, on video they make you look small.  The backside of the chair goes up to your ears and kills the needed seperation between you and the background.  Plus, your talent is going to end up swiveling and that's going to make your talent look impatient as well.

Use a bar stool or use a chair with a short back.  Sit back alll the way and keep your back straight.  
 

That feels better, doesn't it? 

10 Tips On Becoming A Sought-After Freelancer

The cream rises to the top. In terms of freelancers that is so true.  As you know by now, I am a video producer and director and I frequently hire teams of talented professionals to create our videos.  

Have you ever noticed there are some freelancers that work all the time?  How do they find themselves in that position?  Here's a list of tips that will get you on your clients' speed dial.

1. Make it easy for clients to find you.  My biggest pet peeve with freelancers is that it should not be hard to reach you.  Jobs come in all the time: morning, noon, night and on Sundays.  Put your contact number on the signature of your email.  It's so simple, yet so many people don't do it.  If I have to struggle to find you, I'm probably going to call the other guy/gal.
2. Show up early.  Another simple one.  Get to the job early.  Be the first one there.  Surprise me and bring some bagels to the set at 6:30.  Being late to a job speaks volumes.
3. Figure out what you want to do before you call me for the first time.  I'm busy.  If you don't know what you want to do then I'm not going to be much help.
4. Don't call me if I don't know you.  Email me a short, witty letter that begs me to find out more about you. Show me some personality.
5. Don't freak out about changes.  Changes in terms of scheduling, in terms of what the client wants, in terms of last minute stuff that no one saw coming is part of the job.  We all have to deal with it.  Take a breath, smile and say, "No problem - let's figure this out together."  There is a flip side to this when people feel abused because of changes and that's a list for another time.
6. When you get hired by me or an agency, please don't shout all over the web that you are working for my client.  You are working for me and my agency.  I'm working for my client.
7. Don't look at the clock.  There comes a time when you have to put in extra.  We all do.  If you're trying to impress me and ensure I hire you again, do more than what is necessary. 
8. Don't sit.  I'm thinking about working on a set now.  The last thing I want to see is you sitting with your hands in your pocket trying to blend into the furniture.  Do something that helps our day be more efficient.
9. When you check in with me, I'm not interested so much in how busy you are (how does that help me), what I would like to know is something interesting that pertains to my industry or makes my life easier.
10. Subscribe to my blog.  If your client blogs the biggest way you can show interest is by subscribing to his or her blog and starting a dialogue with the content there.
    Show some interest!

photo cc license by kl801