Planning, Directing, and Editing Successful Video Projects (part 2)
1 like259 views
This document outlines key principles of effective project management in video production, emphasizing the importance of client communication, managing project constraints, and planning for successful outcomes. It includes guidelines for team collaboration, time tracking, hiring crew members, and conducting interviews to achieve desired results. Additionally, it provides insights into the video editing process, including organizational strategies, media management, and legal considerations for using music and locations.
Planning, Directing, and Editing Successful Video Projects (part 2)
- 1. Planning, Directing, and Editing Successful Video Projects Richard Harrington, PMP facebook.com/ RichHarringtonStuff linkedin.com/in/ richardharrington twitter.com/ rhedpixel
- 3. The golden rules of effective project management
- 5. If you have a bad feeling... say something
- 6. Make sure the client knows that you care about their project
- 7. Always try to think about things from the client’s point of view
- 8. Why use Project Management?
- 9. Why use Project Management? • Better control • Better customer/team relations • Better communication • Higher-quality results
- 10. Project objectives • Schedule • Performance • Cost
- 11. Understanding the triple constraint
- 12. Triple Constraint • Scope: • What is the work that must be completed? • Schedule: • What are the time constraints for the project? • Budget: • What are the financial constraints of the project?
- 13. Triple Constraint • Learning to balance these is essential to your success • There is a fourth force at work that holds all three together, QUALITY • Simply put, Good, Fast, Cheap… Pick Two! • You job is to balance all of these
- 14. Managing a project with Basecamp
- 15. Basecamp • Online system • Widely used • Supports common media types • Scaleable
- 17. Using in-progress reports to communicate with clients
- 18. In Progress Reports • Communicate to the client where the project is at • Best to be proactive… delaying ‘bad’ news only makes it worse • Do not be overly optimistic or pessimistic… • Be realistic
- 19. In Progress Reports • Identify milestones complete • Report percentage complete on tasks in progress • Identify tasks not yet started • Agree on regularity of reports with clients in advance • DON’T MAKE THEM ASK!
- 20. Fostering open and frequent communication
- 21. Communication Goals • Open communication • Frequent communication • Perception is reality • Emotions have a huge impact
- 22. Always try to think about things from the client’s point of view • Potential issues • Is the fight worth it? • How to choose your battles
- 23. What is the Project Management Institute (PMI)?
- 24. www.pmi.org
- 26. Time Tracking • Critical for time & materials work • Evaluate your fixed price jobs • Use of software systems • Frequency of reports
- 27. Extra Hands Go a Long Way • Adding crew members often means that exponentially more footage can be captured • Even a two-person crew can generally shoot far more than twice as much professional footage as a single shooter • Minimize delays in shooting due to crew size and gear changeover • Hire different crew talents depending on project © RHED Pixel
- 28. Recruiting Contractors • Join local professional groups • Ask peers or existing vendors • Join user group communities • DSLR meetups • Photo Walks • meetup.com • Apple and Adobe user groups © RHED Pixel
- 29. Crewing Websites • www.mandy.com • www.productionhub.com • www.craigslist.com • services.creativecow.net • www.cinematography.net
- 30. Managing Contractors • Clear expectations • Job rate vs. hourly rate • Reporting frequency • Supervision
- 31. Employee Status • When working with contractors, especially long-term • Be careful to follow rules • https://tinyurl.com/goton2t
- 32. Effective Team Membership • Take Responsibility • Follow Through • Listen Actively • Communicate Clearly • Provide Feedback • Accept Feedback • Track Time
- 33. Direct talent for the best performance
- 34. Planning for project goals and impact
- 35. Planning for project goals and impact • What message does the audience need to receive? • How do you want the audience to feel? • What is the mission of the organization? • Are there any future goals to plan for?
- 36. Getting the results you want • Write a draft “dream script” or treatment • Place “ideal” sound-bites that will work for your production • Consider intercutting multiple people telling one story • Plan for options on topic coverage
- 37. Building your talking points
- 38. Building your talking points • Analyze the goals of project • Review other projects/publications from client • Start from your rough “dream soundbite” script • Break down bullet points by topic/segment • Remember to include summary points and themes • If sending to interviewee, avoid sending every question
- 39. Forms
- 40. Release Forms • Get the right form • Work with a lawyer • Ensure you have written permission • Always get hard copies • Appearance releases • Location releases
- 41. Release Forms • Other Rights Issues • Artwork • Sculptures • Architecture • Likeness
- 42. Release Apps ASMP Releases Easy Release iD RELEASE iRelease Release Me
- 43. FILM LOCATION AGREEMENT THIS AGREEMENT is made _________________________, by and between ________________________________________________________, herein after re- ferred to as “Owner” and RHED Pixel, Inc., hereinafter referred to as “Company”. 1. For the period specified in paragraph 3 below, Owner hereby grants to Company the right to enter upon Owner’s property (with equipment and personnel Company deems necessary), situated at __________________________________________________, in __________________________________________________, hereinafter referred to as “said premises” and to erect thereon a temporary motion picture structures set and to use them and said premises for making a education training video titled Clinical Su- pervision, hereinafter referred to as the “Production”. 2. Commencing on or about _________________________, Company may have such possession of said premises as is reasonably necessary to perform the Production, and such premises use may continue from day to day, Saturdays, Sundays, and Holidays included, and from time to time, until the proposed scenes and work are completed. It is estimated that it will require about _____________ days of use for the Company to complete its principle use of said premises. 3. Company agrees to leave said premises and all property of any kind located thereon, in as good order and condition as they were immediately prior to any use of said prem- ises pursuant to this Agreement, reasonable wear and tear excepted, and to pay for any
- 44. LOCATION(RELEASE( ( For$good$and$valuable$consideration,$the$receipt$and$sufficiency$of$which$is$hereby$acknowledged,$ $$ $(“Grantor”)$hereby$grants$RHED$Pixel,$Inc.$and$its$affiliated$ companies,$ agents,$ suppliers$ and$ contractors$ (collectively,$ “RHED$ PIXEL”)$ the$ right$ to$ enter$ upon$ and$ use$ the$ exterior(s),$interior(s)$and$contents$(including$signs,$names,$displays,$identifying$features,$furniture,$fixtures,$etc.)$ of$the$ property$ located$ $ (the$ "Property")$ for$ the$ purposes$ of$ filming,$ videotaping,$ photographing,$ and$ recording$ certain$ scenes$ in$ connection$ with$ one$ or$ more$ television$ programs,$ audiovisual$ works$ and$ derivative$ works$ which$ RHED$ PIXEL$ intends$ to$ produce,$ exhibit,$ perform,$ transmit,$license,$sublicense,$market,$distribute,$sell$and$otherwise$exploit,$and$exercise$all$subsidiary,$allied$and$ ancillary$rights$in$or$related$thereto,$in$all$markets$and$any$and$all$media$(including$without$limitation,$print,$home$ video$and$interactive$applications$and$digital$platforms),$whether$now$known$or$hereinafter$developed,$throughout$ the$universe$in$perpetuity.$ $ Grantor$ agrees$ that$ RHED$ PIXEL$ shall$ have$ the$ right$ to$ place$ its$ equipment$ and$ other$ necessary$ props$ or$ materials$on$the$Property,$and$RHED$PIXEL$agrees$to$remove$them$after$completion$of$the$shoot$and$leave$the$ Property$in$as$good$condition$as$when$it$entered.$RHED$PIXEL$will$use$reasonable$care$to$prevent$damage$to$the$ Property,$and$agrees$to$indemnify$the$Grantor$and$any$other$parties$lawfully$in$possession$of$the$Property,$and$ hold$each$of$them$harmless$from$any$third$party$claims,$losses$or$damages$directly$arising$out$of$any$negligent$or$ willfully$ wrongful$ acts$ by$ RHED$ PIXEL$ in$ connection$ with$ RHED$ PIXEL's$ use$ of$ the$ Property.$ Grantor$ hereby$ agrees$to$indemnify$and$hold$RHED$PIXEL$harmless$from$any$and$all$third$party$claims$arising$out$of$a$breach$by$ Grantor$of$any$undertaking$or$representation$under$this$Agreement$or$any$negligent$or$willfully$wrongful$acts$by$ Grantor$(or$its$employees$or$agents)$in$connection$with$this$Agreement.$ $ After$ RHED$ PIXEL$ has$ completed$ its$ work$ at$ the$ Property,$ including$ all$ necessary$ restoration,$ if$ any,$ RHED$
- 45. Capture great on-camera interviews
- 46. Pre-Interviews • Determine interview subject’s attitudes • Find the best stories, know the worst ones too • Determine B-roll or photos you will need to cover • Define scenes and sound-bites in advance for improved nonfiction post workflow
- 47. Preparing for an Interview • Be Prepared • Plan your goals—short-term and future • Visualize outcomes/impact • Know your characters • Consider time, budget, comfort level of interviewee
- 48. Getting the Results You Want and Need • Write a draft “dream script” or treatment • Place “ideal” sound-bites that will work for your production • Consider intercutting multiple people telling one story • Plan for options on topic coverage
- 49. Building Rapport • Pre-interview chat • Ask them if they have any concerns • Assure them you will edit • Let them know they can stop and restart as needed • Ask them about their interests
- 50. Conducting Pre-interviews • Conduct a pre-interview by phone if possible • Use multiple background sources • Talk to “validators” • Know stories your subject is likely to tell
- 51. Share Keywords with Editor • Analyze the goals of project • Define themes and keywords • Incorporate into “dream soundbite” script • Useful to editor to drive tags and bin structure
- 52. Audio Interview Techniques • Ask open ended questions • Do not interrupt • Ask followup questions • Avoid alliteration • Encourage sips of water periodically
- 53. Audio Interview Approach • Keep microphone placed to the side • Mute microphone in between takes • Avoid lip smacking • Wear headphones to closely monitor quality • Record split tracks
- 54. The goal of video editing
- 55. The Goal of Video Editing • A lot of people I know struggle with video editing because they have a hard time grasping one of the core concepts, and that is the goal of video editing. • When it comes to video editing, you are trying to remove as much as possible.
- 56. Your Video Can Always Be Shorter
- 57. Keep it Short • I have never met a video that wouldn’t benefit from some editing. • The whole purpose of video is to compress time and distill a message to its essence. • It is important that you refine a project by continuing to strip away its unneeded parts. • Rarely have I heard an audience complain that a video was too short.
- 58. Keep it Short • There is a reason to edit and it becomes increasingly clear when you actually watch people as they watch your project. • Do your best to strip a project down to its essence and only add what is needed. • When in doubt… cut it out.
- 59. The Safety Net
- 60. The Safety Net • Video editing is generally non-destructive • If we are working in the timeline and we decide to trim away some media, it's still on the hard drive • You'll also find multiple levels of undo and even histories, or versions, that are automatically captured by Premiere Pro as you edit • The project file in Premiere Pro is very small, so back it up to capture your edits
- 61. Using online review and approval tools to track changes
- 62. Using online review and approval tools to track changes • Cloud-based • Version control • Allows certain reviewers at key points • Commenters can see one another's changes • Helps to avoid reversals • Ability to look back at prior versions/reviews • Integration with your editing/gfx platform is a bonus
- 63. Online review tools for video • Wipster • Vimeo • Frame.io
- 65. The Workflow • Transfer to Field Drive and Mirror • Determine Editing Format • Identify Storage Requirements • Transfer to an Edit Drive • Organize Media • Edit
- 66. Backup and organize your footage
- 67. Card Management In Field
- 68. Importance of Good Storage • Main point of potential failure • Not all brands are equal • Video has different requirements • Capacity • Speed • Transfer speed considerations
- 69. 3-2-1 Backup
- 71. The 3-2-1 Rule • Keep 3 copies of any important file (a primary and two backups) • Keep the files on 2 different media types (such as hard drive and optical media), to protect against different types of hazards. • 1 copy should be stored offsite (or at least offline).
- 72. Transfer to Drive • Transfer to a reliable drive • Ideally you'll use a RAIDed and redundant drive, right away. • Make sure both transfers are complete before reformatting the cards. • Transferring also helps validate the data integrity of files and can prevent issues later with a corrupt clip.
- 74. Cards in Post
- 75. Transferring from Field Storage • Never edit directly off of field storage • Transfer all field assets to redundant media drives • Keep all field storage drives secure until project completion and archive • Field storage drives are like “tapes” on a shelf
- 78. Common Media Folder • Get organized at the drive level • Parity between project and folder • Important with cross-application workflow • Reduces duplicate media • Improves backup process
- 79. Common Media Folder Approach • 01_Original Footage • Card images or cloned copies • 02_Selects • Footage picks • Adapt as needed
- 80. Card Readers • USBC Thunderbolt Readers • Lexar or Hoodman • Multiple Card Reader • Slower • Ability to walk away
- 81. Organize for edit • Operating System • Digital Asset Management • Bridge • Lightroom • Nonlinear Editor • Premiere Pro
- 82. Using Bridge • Transferring • Ranking • Viewing Metadata • Sifting • Sorting • Previewing
- 83. Making Selects • Starring takes • Sift and Sort • Trim if needed • Copy into Selects folder
- 84. Renaming Files • Optional • Can use descriptive names • Adobe Bridge • Includes batch rename option • Can preserve original name in metadata for future
- 85. The Artist | Jason Masi
- 86. Music Rights
- 87. Music Rights • Rush includes a small music library • You DO NOT likely qualify for Fair Use • Many affordable services for stock music • Soundstripe • PremiumBeat • Check Creative Commons • digg.CCMixter.org • DO NOT STEAL FROM FELLOW ARTISTS
- 88. Let's Edit!
- 89. Choosing the Right System for Editing • Processor • RAM • Connections • Hard Drives • Video Card
- 93. Two Free Classes | photofocus.tips/wppiclass
- 95. One Year Access All Classes • More than 100 classes • Hands-on exercise files • Video, Photography, Social Media, and Creative Business 50% OffSave $50 with code WPPI
- 102. Two Free Classes | photofocus.tips/wppiclass
- 103. The Path to Enlightenment
- 104. There’s always somebody willing to work for less than you.
- 105. There’s always somebody with more talent than you.
- 106. There’s always somebody who’s smarter than you.
- 107. There’s nobody out there who is exactly like you.
- 108. When they can, people choose to do business with people they like and respect.
- 109. Be real… Be nice… Be you...
- 112. Two Free Classes | photofocus.tips/wppiclass