Timothy J. allen
Forum Replies Created
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It’s private property, so yes, they can make you leave.
That’s a separate issue than showing the store’s sign or identifiable building design. That could also be problematic. From a pure legal standpoint you woudl need the corporation’s permission for that too, unless it’s “fair use” like a news story.
Actual “news” production has different rules. (which is a good thing for freedom of the press.) I admit that I’ve had disagreements with production folks that came from a news background over content rights issues more than once. I think this is because those who cut their teeth in the newsroom are used to being able to shoot with more or less impunity, while I saw the other side of the fence early because I started in corporate video before gonig into broadcast TV.
Your best bet is to do your “man on the street” interviews on public property, such as a city park.
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Mahesh,
Do you have a certain area of expertise? I don’t meant videography versus editing or graphics or audio expertise, I mean what can you offer to a certain type of customer that puts you above their other potential choices?For instance, having worked at NASA for the last decade or so, I bring a bit of “institutional knowledge” to the table when working with clients that are in highly technical fields, especially when it comes to working with government organizations. I understand their environment and some of the typical constraints and motivations they have with their communication needs. I make it easier for them to work with me than it would be for them to work with someone who, for instance, only had experience producing entertainment pieces or commercials. In short, they don’t have to spend a lot of time explaining the state of the aerospace industry to me… or what “EVA”, “COTS” or “GMT” stands for – or why the guys in the labs have to be wearing safety goggles during every shot. I can help save them grief by making sure they check all the typical boxes required for government video work, such as 508 compliance.
On the other hand, if someone wanted to hire me to work on live sports, I’d send them over to someone like Tim Duncan instead. Why? He knows the sports industry better than I do, especially live events work. Being immersed in a particular environment for a few years gives you an edge when working with clients in that area.
Smart business people don’t just hire a videographer because the guy knows the video production side of things (although that’s a given)- they hire him because he breaths the same air as his clients… and his client’s customers.You do want to work with smart clients, don’t you?
My advice is to target those clients who need the kind of expertise that only you can bring. Follow your passion, then go to the places where your clients in that field already are. Participate in the industry that you are targeting – not just the video side of it, but also in other conversations. IMHO, if you can have the expertise in a specific industry, develop deep and real relationships with the players in that arena, AND offer your video production expertise, you won’t have to search far for customers.
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Jeff,
I think you already know why you, as the producer, would want a release form signed. As I understand, your question is why would the person being filmed or videotaped would feel compelled to sign the form.Here are a few reasons (in the voice of the production assistant to the on-camera talent…)
– It’s a communications tool that helps us both make sure we are on the same page as far as what your images can and can not be used for, exactly who can use them, and for how long.
– By reading and signing the release, you get a better understanding of how the images are expected to be used. It also gives you a chance to ask any questions you may have before we both spend our valuable time on set or location.
– We are a professional production company and part of being professional is ensuring that everyone is clear on agreements. We have a legal obligation to get documentation of your permission to use your voice and image. Without that documentation, broadcasters and distributors typically refuse to promote or air the program. So, in essence, it’s also a “ticket to the show” for you. In order for us to be able to feature you in the program, we have to have it on file in our records.Granted, the main reason from your point of view is to protect yourself, but ensuring that the terms of agreement are clear on both sides – before you film – benefits everyone.
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That’s another Timothy Allen, but I like his style. The old “Good Tim/Bad Tim” routine. Works every time. 😉
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Well done, Chris.
If you didn’t have to satisfy the client in showing the consistency of badges and placement (another one of those subtle secondary objectives that broadens the arrowhead) I’m sure you would have shown closer faces.
I agree that it woudl be more effective to have had two different nurses tagging on the line about the baby’s breath and the last breath.
Blooming out the backgrounds might have focused the attention on the subjects, but too much of it could have taken away from the impression the nurses are in “real” environments. If you make the decision to use real nurses – and in the case that’s essential to the authenticity of the spot – I don’t think you need to go any further in creating a visual environment that could only exist in video. Your use of depth of field works to direct the audience’s focus without making it too surreal.
Creating a sense of authenticity is no excuse for bad technical quality, so it’s good to see that you thougth about framing depth of field, color, etc.
In the past, the stiff delivery would have bothered me more, but if their acting had been really polished, it might not have been believable that they were real nurses. Yes, that’s rationalizing, but that doesn’t mean the client wouldn’t see it the same way.
Be proud of this effort and for what you had to do behind the scenes to get it done at that level.
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Are you talking about analysis of ongoing studio resources or project-based workflow? For individual productions, I still use Microsoft Project. Yes, it’s a “left brain” type of program and the interface isn’t pretty, but it can parse and present the data in ways that my clients can easily understand.
Of course, I work with clients that live and breathe Gantt charts…
On the plus side, it’s incredibly deep and there’s a wealth of training available. On the negative side, you need the training if you are going to get the most benefit out of it.
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We use production music almost exclusively, but it’s rare that I sign onto a needle drop agreement. Ease of use is paramount, so we tend to go for blanket agreements or libraries that offer a buy out option.
I don’t know if it would be profitable or worth your effort. I was a studio musician years before I became a TV Producer, and there were times that I explored business models in this area. I stopped pursuing it when I realized that for my business model to work, I won’t be able to spend much time actually playing music, but would have to focus on marketing and legal issues – more than I wanted to at that age.
I’ve certainly paid a decent amount of money to libraries like VideoHelper, DeWolf and FirstCom. Quality rises to the top. Just know that your competition is global rather than local, so unless you can beat the competition in technical quality, customer service, or price (and at least compete with them in all three areas) it will be tough.
All that said, if that work is really what you want to do from day to day I say go for it. Even if it doesn’t make a huge amount of money, at least you would be spending your days doing what you love.
I’d at least explore the possibilities of partnering with some establish firms that fit your philosophy and style of music. It might be a good idea to take advantage of the “heavy lifting” they’ve already done in the areas of marketing and distribution, and even branding.
Agreements are wide open, but I’d start by looking at the agreements that your competition has with their customers. These aren’t hard to get if you are one of their customers. Once you see some of the obligations that they have, you can better align it with your needs.
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Yes, I would charge unless the render turned out bad or if I was just trying something “extra” to see how an effect turns out. If it’s my decision to try something that takes longer to render than the client asks for, I don’t charge for that. Time and expertise is really all we sell. It certainly isn’t the pieces of plastic or the uploaded electrons.
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I’m continuing to focus on business development services rather than simply “video production”. Video is simply one of many tools that I offer a client in their marketing toolbox.
I’ve found that it’s even more important to be able to show your potential clients “success stories” – tangible examples of how someone used your capabilities to bring in more business for themselves.
Know your value proposition. For those who don’t live in the day-to-day world of corporate buzz-speak, you certainly don’t have to use the words “value proposition” to your clients. But you do need to be able to quickly let them know what you bring to the table that helps them succeed in these so-called tough economic times.
Another piece of advice? If you are good at what you do, and you don’t mind the bureaucracy, look into targeting clients in the government and education sectors (at all levels). Their budgets may have shifted, but they aren’t decreasing.
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Kim,
I agree with you that a large part of customer service is managing the customer’s expectations. So you do the best you can and if there are concerns that something won’t go right, you do what you can to address it with the client before crunch time.I simply don’t charge for what I don’t deliver.
Having said that, I do think there is a place in your agreement that covers your time as a deliverable. This is useful in cases where it’s a possibility that the client would call off a shoot at the last minute. (For instance, if you are hired to document a wedding and the groom doesn’t show up.) That’s different.
In any case, it is important to be very clear with the client about what is to be considered “the products”. Is it just the final edited tape? Is it also raw footage? Is it your time? Ensuring deliverablity of those “products” is another reason to structure your agreements where they are divided by phases (such as preproduction, taping and post).