I’m retired…meaning not working for pay. But there’s no way I can give up doing what I love most, which is shooting and producing videos. I’ve had to come up with a plan…a philosophy…so I can continue my love without compromising my ethics…and here it is, subject to revision.
1. If you have a budget or can get a budget I can’t work for you. Sorry…there are folks out there who make their living doing video production and you should be paying them, not looking for a freebie.
2. If I am interested we’ll talk. If I say no, I mean it. This is my life and my retirement and I get to decide how to spend it.
3. I’m pretty independent…so not a fan of committees or micromanagement. We can work together if you are willing to discuss your goals and ideas and then trust me to come up with a concept and final project. Yes, you’ll get to see it and have approval rights at certain stages. But refer back to #2 if you have questions.
4. I steer clear of personal videos such as weddings and birthdays and the kind of videos you should either do yourself or pay a pro for. Again, my life, my choice of how to spend it.
5. There are a couple of non-profits and other organizations I love working with and they take priority over everything else.
Life is meant to be lived as we choose when we retire. So my retirement is a combination of personal preferences (gardening, travel with the husband), volunteering, and continuing to work on videos.
And that said, here’s the latest done for the San Joaquin County OES. Yep – they had no budget but a great need to get the word out about the flood threat continuing through July and possibly into August this year. And I had a great need to find a truly challenging project and had the good fortune to work with a department of friendly professionals who are as passionate about their work as I am mine.
Videojournalism or reporting visually can make you highly visible. There ya are: camera in hand, mike out. You’re gathering news to put up…somewhere. On the web, on TV, whatever.
So folks see you with that gear and think, “Hey, I can do THAT!” Piece of cake.
That’s the visible part of your job.
The invisible part, kind of like an iceberg, is 80 or 90 percent submerged where no one can see it.
Like: how do you choose a story, an angle, which questions to ask/which to keep and consider asking. Which shots to get. What you DON’T shoot.
The invisible part of the job.
From what I’ve experienced, shooting can be the flashy easy part. And for every hour put in shooting, you may have another hour (or more) piecing together those random clips into something cohesive.
And (to the uninitiated) there are more layers.
Get assignment and figure out your angle
Make calls/email and set up interviews/b-roll
Log – transcribe NATs and interviews
1-2-3 might take three or four or more hours. Four and five maybe another hour. And poor old editing gets whatever is left. If you’re working with a reporter, pray that they remember to toss you enough time to edit the story together properly. If you’re a one man band, don’t box yourself in. Allow time to edit.
And for those who think it all comes together miraculously…think again. An iceberg is a pretty thing, but can be deadly. Especially come deadline time.
One of the “lies” of journalism is that journos are neutral – they don’t take sides. They are objective.
Realistically objectivity is bullshit.
The difference between a professional journalist and a crazed blogger on a rant is a sense of their own weaknesses and an attempt to be fair.
Think about it – when you tell a story. When you delve deep into an interview to discover your character’s thoughts…you are doing it from the template of your own experiences and life. So your questions are pre-formulated, based on your life experience and what you think your audience wants to or needs to hear.
And from the other side – if you let THEM control the story, you will get their personal take on who they are and what they do – and all the lies they tell themselves.
So a person you see as quiet and mature, may think that they are timid and inept. Or someone you look up to as forceful and decisive may be brutally sadistic, but hide it. And others may see you as what you know you are not…it swings both ways.
Something to mull over as you head out on that next political story or while you’re shooting a rally. How much do you impose your will on reality…
Lately I’ve been mentoring students and a few newbies to both videojournalism and video production. Frankly they’re all pretty much rank beginners with the basics and a dream of getting better. And of course, they all have a website showcasing their work.
The websites are pretty much shotgun, not sharpshooter and well-aimed and focused. They’re tossing it all out there without filtering. The good, the bad, and the ugly are all on their sites.
Please spare me. I don’t want to see it all – that is not only boring and a complete turn-off, but also not good for your odds of impressing a potential employer or client. Those last two only want to see your best – what makes you stand out above the herd. What makes you the one they want to hire.
So winnow through your work. Filter it down to your best one or two or at the most three pieces of work. Label each story (or video) clearly, with information about your role in creating it…as well as whether it was a school project, a volunteer effort, or a paid gig. Don’t be overly wordy (a sin I commit frequently). Just a simple caption for each.
And speaking of writing…please remember basic English when writing. Keep it simple, making sure your grammar and punctuation and spelling are spot-on.
Remember you are striving to work in a visual medium and everything about your site will be judged in an instant and will either attract or repel. So stuff like color schemes and font choices do matter. Photos do matter. Words. Do matter. Don’t post photos and words that are in conflict. In other words (you know who you are) don’t say you are a journo and post a duckface and photos that imply you’d rather be in Tinseltown. Do not try to create an image that is not you…be real. And please post your work – not just photos o you working. I honestly don’t care how you look. I want to see what you can do for me. Be who you are…a newbie with dreams.
Keep it simple.
A few more items. Don’t post your resume or all the world to see. If asked for your resume, DO include references. NEVER state that they are “available on request.” Really? So you want me to take extra steps to check you out before hiring you?
On that note – do this now, while you’re still in the prof’s mind. Ask for (1) a recommendation letter based on what they know about you now as a student and (b) permission to use them as a reference for future gigs or employment. If you wait two or three or more years, you’ll just be another ghostly body in their memories. Unless you really really stood out (for good or bad reasons). And choose who you ask to be a reference. I gladly told all of my students I would recommend them – but they had to carefully consider what I would say about them. Because I will not lie. A number of kiddos really did think and back off from asking…they knew exactly how they had behaved and how much work they had done (or not).
In closing. Have friends, mentors, teachers all check out your site and pick it apart. Put on your rhino skin suit and take their advice as help, not hate. While your besties might say it’s all good, they might be lying or just buying into your lies to yourself. Listen to those who’ve been out in the big bad world and use what they tell you to fine-tune your web site.
So good luck with it and all. And review and update your site as your skillset and experience improve.
Wow – and just when I thought I’d seen it all – I haven’t. A local “producer” OMB (one man band) who has a great gimmick called “A Dolla for a Holla” where he pays passers-by a buck to say something in front of the camera…something positive for a program he is working on. Gets them to sign off on a model release so he can use their comments in said program. We had a discussion and I asked for his card with the intention of checking him out via his website. Um…no. No website. In fact – no web presence at all. No facebook. Googling his name, his show name, anything and he is invisible. I gotta tell ya, that if this is the new Marketing 101, then I’m clueless. As is his potential audience. (Oh – and no phone number either…apparently the ONLY way to track this enterprising young man down is through his email.)
Routine almost to the point of boring. Hop on over to Amanda Emily’s The Dope Sheet and check it out.
Addendum April 13, 2014. Just noticed how many folks are clicking through on the link above and think I’d better explain a bit. A lot of times news crews are given routine assignments that may or may not end with something on air/published. The intent is more to be present just in case something happens. There are crews routinely assigned to follow and travel with the President and other world dignitaries. Some days the images captured never go anywhere…but the crews are still there. Just in case. Think of past attempts to take down the President…those are the times having a crew on scene paid off. Think about the Hindenburg…crews on scene captured that tragedy. It’s a bet…a gamble…one you don’t even want to come true. But. Crews are there.
Dangerous ground…especially if you don’t know enough to know what you should be looking for.
This blog posting is for those who want to stretch their knowledge and move beyond simple P&S (point and shoot) folks who just use their cameras to take family photos or video or LAMIGABEC! (Look at me – I’ve got a big expensive camera!) types who are all about impressing folks.
This blog posting is for those of you who just know somehow you’re missing out on the real secrets of shooting and editing video…what makes the magic. As mentioned in a previous posting, it’s not the wand…it is the magician waving the wand that makes the magic. But you do, after all, need a wand…and right now it seems you’re ready to move up to a more powerful one…
Before anything…you must consider what you will be using the camera for. Are you into news video? Documentaries? Movie-making? Event videography? Although this may not affect your decision a lot, you should have some idea of where you want to take your journey.
Next – budget. Don’t even think about buying gear until you have a rough idea of your budget. The low end is not the problem – it’s the high end you need to set. And set it firmly. Once you start shopping you may find yourself wanting to stretch that budget “just a little bit more” for a slightly better camera…and then want to stretch it again…and again. I went through the same throes about three years when I set a camera budget of $3000 and found myself looking at $10,000 cameras. A quick reality check and I had to back off. Finally got a Panasonic AG-HMC150 for around $2700 and had enough left for spare batteries and cards.
Part of the reality check includes a few things you will need to budget for in addition to media and accessories. Media tops the list after the camera. Hopefully you’ve already picked up a (somewhat workable) tripod somewhere. You can get by with one battery initially. But you will need a microphone other than what’s built-in to the camera. And you WILL need to pay taxes and shipping (which can run you over budget if you’re not thinking).
Now…on to choosing the camera. Fist, think about form. The choices are pretty simple: DSLR, Micro 4/3 – basically still cameras and camcorder/video cameras. If you’re serious you want a camera/camcorder with a microphone input, headset out (to monitor audio) and some way to manually control aperture, shutter speed, ISO.
Video cameras are meant to shoot video. Prices for a camera with the features mentioned above generally start at a higher price point than the still camera choices. On the low end they have attached lens and controls accessible by menu. On the higher end the controls are located where you can see and access them on the camera body. The camera itself is meant to be hand-held (or tripod-mounted). You can monitor your visuals through either the LCD or a viewfinder (for shooting in bright sunlight). The camera has a built-in microphone/usually a shotgun or directional mike. But you can also plug in an external mike through either 3.5mm/mini-jack inputs or XLR/professional connectors. On the lower end of the price range the lenses are part of the camera…as you hit mid-range pricing (say around $3,000 to $4,000) you can get cameras with detachable lenses, giving you more options for shooting extreme wide angle or tele shots.
Still cameras are meant to shoot still photographs, but many today also shoot video. Again, you want the same features if you’re serious. Mike input, headset out, manual controls. One of the primary advantages of this category of camera is that even with the lower end cameras you can get detachable lenses or buy adapters and use old film lenses and get shallow depth of field – meaning you can selectively choose what is in focus and what is not. Although the same effect can be achieved with camcorders, it takes more knowledge and is not always as effective (until – once again – you get into being able to detach and choose lenses). The form factor of still cameras does not always lend itself to handheld…these cameras are designed to be held while following and shooting stills. It is more difficult to hold them steady for video clips. So you may need a rig – a contraption that helps you hold the camera steady while hand-holding. The built-in microphones on still cameras are not as effective as those on video cameras. You need to search and make sure you purchase a camera with both an LCD and viewfinder…preferable an orientable LCD so you can slap that camera on the ground or hold over your head and still be able to monitor your images. Still cameras with mike inputs all use 3.5/mini-jack inputs. Or (if your budget is low) there may not be an input for an external mike at all. So…more choices. If no mike input, purchase a digital audio recorder…something you can place or hold out to get clear audio. Of course you’re going to have to synch the audio and video up in editing, which adds to your production time. Next – purchase microphones with mini-jack terminals. Third, get an XLR adapter so you can use professional mikes. Regarding manual controls…still cameras tend to be menu driven, although at the higher end there are more options for external control.
Now I’ve shot with both video cameras (a lot) and a micro 4/3 (a bit) and the images are stunning on both. The micro 4/3 I have does not have any mike inputs so I’ve had to resort to holding a little DAR/digital audio recorder out the same way I would hold a stick mike to do interviews. It works fine…and for around $280 for the still camera vs. $2700 for the video camera…I can do that.
If you’re on a learning curve…look at all of the alternative affordable options and work your way up the food chain of cameras.
I’ve been wondering what the difference in color temperature is between a good tungsten light head, a good LED head, and a cheap LED head. The video is below.
Judge for yourself, but from what I see the tungsten is spot-on for good vibrant color. I used my little Lowell Prolight/cost around $120 but the lamps are fairly short-lived. Second up is the Flolight with 128 LEDs at a cost of around $260/runs cool with extremely long life. The Neewer, which comes in last, has 160 LEDs and cost only $30.
In the first test the Neewer is obviously green. This test was shot with my Panasonic AG-HMC150 on auto white. The Flolight looks pretty good, but is cool in comparison with the Prolight. Take a look at the upper right color square, which is an intense pink to see the difference.
In test #2 the Flolight comes even closer to the Prolight. In this test I white balanced each light on a white card. You’ll have to excuse the exposure here on the Prolight…it’s a bit dark. But you can see the obvious difference in the pink again in the Neewer.
In test #3 I white balance the Prolight on the white card. Then balanced the two LEDs on a warm card, which is intended to shift the color balance away from blue and towards a warmer hue. In both LEDs the reds are off and you can see the warmth in the grey scale at the top, compared to the tungsten card.
In the fourth and final test I used the Prolight white balance on white card and then shot using each of the LEDs with that same set white balance. This is where you see blatant differences between the full spectrum tungsten light and the LEDs, which shift to blue and totally lack warmth. And if you look closely you can see the greenish tint is more apparent with the Neewer head.
What does this mean to you? Well, this test was shot in a dark room with no other light invading…so you need to keep in mind if you decide to shoot with your LEDs in the dark there will be issues with accurate color. However the good news is if you shoot and use the LEDs for fill only AND if you white balance, the full spectrum lights will overcome the deficiencies of the LEDs. And I will say that being able to operate off batteries for extended periods with LED lights has given me a freedom I never had with the hotter tungsten lights, which are battery vampires.
Update from b-roll buddy Bobby Alcaraz. If you’re gonna use LEDs, make sure they’re all by the same manufacturer so they match. If you start mixing different (especially bad and off color) lights you are asking for trouble. At least with them all being the same you stand a better chance of getting somewhat usable color.
Ah workflow…what you do and when you do it and in what order you do it.
Now in the wonderful world of production, there is a pretty set plan.
One. Pre-production. This is conception of the idea, be it a TV commercial or program, to the research and scripting and choosing talent and much much more. Choosing crew, cameras and other gear. Venues, costume. The list is endless.
Two. Production. Shooting.
Three Post-production. Editing, FX, trailers.
And then. There is news.
A wild and furry beast that defies description.
Now all of the elements are there – but kind of jumbled up and thrown together to make a monster of a mishmash that somehow seems to work.
Generally you do get to either get an assignment or come up with an idea for a story…and then, depending…you may start shooting before you have time to do any research or even get a grasp of what you just got into. You might see smoke and be in the middle of a fire scene, trying to figure it out as it happens. Pre-production and production run into each other and duke it out with you caught up in the chaos.
Or you might be given a few minutes or an hour to track down interviews and set up b-roll. But during the day you will most likely still be doing research and gathering information while grabbing interviews and b-roll.
The only part that is guaranteed is that editing will come last. Unless of course you go live, then forget about that.
There are few things that make my head ache. Computer woes top that list though.
Among the many (many, many) bits of far flung knowledge a VJ needs is a basic understanding of how their computer works. What are the parts and how does each piece of the internal puzzle that makes a computer hummmmm happily tie in with other pieces.
In case you haven’t guessed already…it seems to be time for my annual battle to keep my laptop in top working status.
Last year it was a mishap with some spilled liquid that took down the motherboard, leading to some very confusing communications with Dell (manufacturer of choice) that eventually lead to a renewed and working computer.
This year it appears that a RAM card has gone south (Yank lingo for “died”).
It all began a month or so ago when I began to notice the occasional hick-up when editing. Developed slowly…then faster…to a point where last week the old gal just began randomly shutting down. For. No. Known. Reason.
So it was time to go online to the Dell diagnostics center and begin the task of winnowing down the possibilities. A complete system check lead to a litany of failures, none of which made sense until I ran a Google search on the terms “walking right test”, “walking left test”, and some other nifty file names. All pointed in one direction: to memory.
So time for the hardware/memory test – which shone the spotlight on the RAM (random access memory cards).
Then it was time to shut the computer down, pull all but one card, and reboot and test each card individually. Third card in was the culprit. Of course I tested all four (my gal holds four 4gb cards) to be sure there weren’t two miscreants.
Crucial, the company I got the cards from several years ago, has a whiz-bang replacement program. I just had to register to get an ID number and then send it in. Expecting the replacement sometime this week.
So…above is a good reason to know your way around your computer. Sure, I could have paid someone to do all that and just gone out and bought another card. And I might have if there’s been a big-bucks client breathing down my neck. But in real life not all of us have that kind of money. So knowing (see below) the parts of my computer and what each does plus having good support (thank you Dell) to help diagnose the problem made my life a bit simpler.
Here, in brief, is the Videot’s Guide to Computers.
Monitor – The big screen you see things on
Keyboard – Where you type and input data.
Mouse – A sleek plastic maneuverable control device which you use to move your cursor around the screen to pick and choose your tasks
Processor – The brain of your computer…the processor literally processes all of the activity you direct the computer to do. How new/old/slow/fast your processor is determines how efficiently you can get work done. A solo processor is slower than a dual is slower than a quad and so on.
RAM – Kind of the task manager…RAM or random access memory is what allows you to multi-task, to have multiple and complex programs running simultaneously. So when my RAM went south, my computer’s ability to allow me to run my editing program, be online, run Dragon and Word together to transcribe…all of that shrank down to a slow drag. Hint: whenever you can, max out the RAM in your computer.
Graphics card – Just what it sounds like/handles graphics or images. An editing computer needs a good graphics card to handle the video files. If the Processor is the frontal lobe of your computer (brain), then the graphics card is the occipital lobe (responsible for visual processing).
Hard drive – Your storage space…for programs and files. More is better. Video files can be enormous. And if you’re like me and many others, editing in the field on the fly, then removable portable drives are the way to go…where to put your media from your projects.