How to Prep your Video Interviewee

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When you produce corporate videos and commercials, you sometimes have to work with talent or interviewees who have never been in front of the camera before. Not everyone is a confident or camera friendly subject. As the person interviewing or directing, you have tremendous influence over how the shoot goes. Here are a few tips to prep your talent for video glory.

 

 

1. “Take your time”

Assure the talent that if they get tangled up in their words they can start over. This isn’t live and no one is going to see them mess up. Explain to them the video will be edited and it’s your job to make them look good. Make it more of a conversational situation, tell them to ignore the cameras, just be themselves and share their story with you.

 

2. “Put the question back into your answer.”

Ask your interviewee to incorporate the question into their answer to give the viewer context to what they are saying. If they phrase their response with the question included, the answer can stand on it’s own and can naturally carry the story without disconnecting voice overs or text.

 

3. “Don’t hate me when I pause us during a take.”

There will be distractions, lighting issues, and noises. So make your interviewee aware that you will most likely encounter something that requires are retake. If you prepare them for it ahead of time it won’t seem quite as jarring when you have to interrupt them mid take because something ruined the shot.


Katlyn NessKatlyn Ness is the Production Coordinator for Explore Media, an award-winning digital video production company headquartered in South Bend, Indiana.  She blogs about the advertising, film and music industries as they relate to tv ads, web videos, industrial & commercial video, and branded films.

The Video Production Bible

 

 

Aside from being creative, cost effective, and likeable, if you want you want to have a great film or commercial video production shoot you have to have a visual plan for clients and crew. Every shoot I’ve coordinated, I start out with an essential part of production: the Pre-Production Book. Your shoot will run smooth like butta!

This is basically your video production bible and it’s something I put together for each shoot, small or large, because it’s important that everyone is on the same page. It’s your one-stop shop of information and it doesn’t have to be fancy and you don’t need special software. You can use Microsoft or Pages, but it is important that you export it as a PDF. It’s professional and compatible for everyone.

Here’s a basic list of things to include:

1. Cover Sheet

- Identify Production Company, Client, & Agency

- Name of Job

- Dates

- I like to add company logos. It looks legit.

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- Addresses & Meeting Area

- PARKING (Seriously saves a lot of time.)

- Dates

- Location Contact & Representative Info.

- Maps, Directions, Photos

- Weather, Sunrise, Sunset Times

- Call & Wrap Times

- Set Contact  

3. Contact Info

- Names, Job Titles, Email, & Phone Numbers

- Client, Crew, & Agency

4. Travel Itinerary

- Flights

- Hotel Information

- Check In/Out Dates & Times

Screen Shot 2014-11-19 at 10.32.40 PM- Directions

5. Shooting Schedule

- Call & Wrap Times

- Location Moves

- Wardrobe & Makeup Prep

- Lunch & Breaks

- Shot Breakdown

 - We even like to add props & talent needed for each shot.

6. Shot List/Story Boards

7. Talent

- Contact Info

- Call Time

- Height & Sizes (This will help the stylist tremendously!)

- Photos

- Talent Agency Contact Info

8. Vendors

- All 3rd Parties Involved

- Hotel

- Caterers

- Equipment Rentals

- Transportation

Trust me, having this info on hand saves a lot of time looking for that phone number in your phone or trying to figure out what shot your on. It helps everyone and it’s quite professional. You can’t go wrong!


Katlyn Ness

Katlyn Ness is the Production Coordinator for Explore Media, an award-winning digital video production company headquartered in South Bend, Indiana.  She blogs about the advertising, film and music industries as they relate to tv ads, web videos, industrial & commercial video, and branded films.

Box Office Report – Interstellar

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Interstellar did pretty well over the weekend, but it wasn’t enough to make it to number 1! The animated feature, Big Hero 6, surpassed the film with an estimated $56.2 million, while Intersteller earned $50 million. It’s the first time in 12 years a Christopher Nolan movie didn’t open at number 1.

 

Even though it’s number two, it’s still a worthwhile film to see! With time on Earth coming to an end, a team of explorers undertake an important mission; traveling through the galaxy to discover whether mankind has a future in space. The film stars Matthew McConaughey, Anne Hathaway, and Jessica Chastain.

 

Top 5 Weekend Movies

1. Big Hero 6 – $56.2 million

2. Interstellar – $50 million

3. Gone Girl – $6.1 million

4. Ouija – $6 million

5. St. Vincent – $5.7 million

 


 

Katlyn NessKatlyn Ness is the Production Coordinator for Explore Media, an award-winning digital video production company headquartered in South Bend, Indiana.  She blogs about the advertising, film and music industries as they relate to tv ads, web videos, industrial & commercial video, and branded films.

Where do you Draw the Line?

Whatever happened to the inclusive attitude of “Strong enough for a man but made for a woman?” This “manly” ad for Dr. Pepper is part of a trend also taken by advertisers like Old Spice and Miller Lite in recent years to use hyper-masculenity to sell products. And of course, this tactic seems to work, but the overt messaging is controversial. Which begs the question, “Where do you Draw the Line?”

We all work on projects where we are less than enthusiastic about the creative.  Or perhaps a project comes in for a brand or product you wouldn’t personally choose to purchase.  I was talking to a creative director at a big agency recently who had worked for two years entirely on one account: feminine hygiene products.  I should mention this was a male creative director.  These are the things we do for our careers.  And for the love of creating Commercials & Films.  Don’t misunderstand, this doesn’t mean you can’t direct, produce, or edit amazing commercials or films if you aren’t super-stoked about the product. The aforementioned creative director did ridiculously great work on this account for his agency and his client.  These scenarios, while maybe not the most creatively stimulating or enveloping, still are well within the range of acceptable projects.

But what do you do when a project comes across your plate where you ethically, morally, or ideologically disagree with the core values?  Can you really contribute fully on a project with which you don’t believe?  How can you give this client or project your entire focus?  Does your employer give you the freedom to say, “Pass” to controversial projects?

I was debating this recently after reading an AdWeek article about Abercrombie & Fitch.  The movement against their college sex-appeal image was well under way before, but controversial comments from their CEO regarding the ideal consumer of his products have tipped A&F from a billion-dollar company, to becoming one of the most hated brands in the clothing world.  I found myself asking, “What would I do if an agency approached me with boards supporting A&F’s position as clothing for only skinny, good looking kids?”

In thinking of where you draw the line, take another look at the Dr. Pepper “Not for Women” campaign, but this time with critique added by LAMPlatoon.  Started as a media initiative by The Lamp (Learning About Multimedia Project), LAMPlatoon claims on their website to “put ads on notice” for messages that deceive, objectify women, men, trade on ethnic stereotypes or simply don’t make sense.

– See more at: http://www.productionhub.com/blog/post/where-do-you-draw-the-line-635507862620242000

After watching this ad, I suddenly remembered a course for my Anthropology minor in college. The instructor, like LAMPlatoon a much more socially conscious and smarter person than I, showed a montage of popular videos which were current on MTV.  But they were edited without any music or audio.  All we saw were image after image of women appearing as needy, over-sexualized, submissive and entirely dependent upon men for their self-esteem. The video blew my mind. Since then, I find every once in a while I need to be reminded of this: what appears funny or cool at face value can often have different connotations when investigated a little deeper. This critique of Miller Lite’s Un-Manly ads further sheds light on what the effects on the person who is “unmanly” may be.

Does this mean women can’t appear as attractive and confident in advertising? Does this mean all “manly” ads are stereotypical and low-brow?  Does all violence or gender, race, or ethnic advertising cross the line? Of course not. But as creators, curators, and purveyors of media, keeping an awareness of where your line is drawn can be incredibly empowering, and of course, can only lift the art of the commercial advertising and motion picture industries to new levels.  Take a look at The Critical Media Project for more information on the politics of identity across issues of race and ethnicity, class, gender and sexuality.

Do you have stories of where you had to draw the line?  Or maybe you had to take on a project that was awkward, strange, or funny for reasons we need to hear. Please share by tweeting me @jeremypinckert

– See more at: http://www.productionhub.com/blog/post/where-do-you-draw-the-line-635507862620242000

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Jeremy Pinckert is a Chicago Director of Commercial Advertising and Branded Video Content. His work for Commercial Production Company Explore Media has won Tellys, Best in Show ADDYs, and an Emmy Award. You can follow him on Twitter @jeremypinckert, see him on LinkedIN, and check out his video portfolio reel.

‘Tis the Season for Holiday Ads

Screen Shot 2014-11-03 at 9.39.39 AMIt’s November and you know what that means? Holiday ads are about to take over your television! Academy Award-winning Sofia Coppola collaborated with Gap and Wieden & Kennedy to create four holiday themed TV commercials. Each spot celebrates individual gatherings of family and friends, complimented by a classic song.

 

Pinball” features “Deep Down,” by Hazel and the Jolly Boys.

“Crooner” is backed by Johnnie Ray’s “Cry.”

 

“Gauntlet” plays out to “I Got Stripes” by Johnny Cash.

Mistletoe” is set to The Promise’s “I’m Not Ready for Love.”


 

Katlyn NessKatlyn Ness is the Production Coordinator for Explore Media, an award-winning digital video production company headquartered in South Bend, Indiana.  She blogs about the advertising, film and music industries as they relate to tv ads, web videos, industrial & commercial video, and branded films.

Copyright 2014 Explore Media Digital Video and Television Advertising Production · 113 1/2 E. Lexington Ave Elkhart, IN 46516 · (574) 875-5565 · info@explore-media.com

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