Back in the “old days” which, for today’s post I’m defining as pre-2004, people seldom worried about using music in conjunction with videos which they knew would receive limited viewing. Whether a wedding video distributed among family members or one produced for a company that would only be viewed internally, little thought was given to the consequence of using music without paying royalties to the artists or producers of that music. That has all changed. With the popularity of social networking, the emergence of YouTube, Vimeo and other media hosting/sharing sites, Instagram and other web portals created to present videos, everyone should be aware of the potential consequences arising from the use of copyrighted music without permission from the artist(s).
Music labels and producers (and the lawyers that represent them) are no longer taking this lightly and are suing the pants off folks who use their intellectual property without proper attribution AND royalties paid. Aside from the expense of a lawsuit—which could easily put a videographer out of business (epic fail!), finding the right person to pay the royalties to can be quite the hassle, in and of itself! YouTube and Vimeo are blocking the audio from any posted videos with suspect music playing in the background, and they have comprehensive recognition algorithms to detect the misuse of music on their sites.
Rather than engage in a time consuming and expensive battle with artists, producers and attorneys, I have chosen to use legally licensed music. And although I don’t have that latest tune, I can get very close to most contemporary songs and still have a clear conscience.
Ron Dawson is a friend and an incredible filmmaker who has been doing this for two decades. Ron knows many of the top indy content creators across the country and he recently shared a story about another filmmaker, Joe Simon, in his blog post, “The Music Licensing Chickens Have Come Home to Roost in Wedding and Event Videography.” Ron gave me permission to link to his story; I encourage you to take a peek as it unpacks this subject in far greater detail. Joe’s story was published in 2011, but it’s just as relevant today — if not more so — than when it was released.
First Impressions Video has a library of royalty-free or royalty-paid music that we use which—we believe—fits our clients’ tastes, their story and the emotion of the event, and it often can mimic current music. Notwithstanding music considered to be in the public domain or picked up in the course of recording a reception or other activity, we will endeavor to use only music and recorded special effects for which proper licensing has been obtained. It is our desire and intent to stay on the right side of this legal issue; we trust you’ll respect this decision.
I’ve shot a lot of weddings since starting First Impressions Video. They are gratifying, for sure, but a challenge because of the emotion associated with them–and the desire to get it right. As it is in most event videography, there are no “second takes.” Between bride and groom prep, through the ceremony and reception, there are many aspects to capture and as a result, several places where things can go sideways–especially during the ceremony.
The still photographer has a pivotal role in a wedding and I’ve worked with many outstanding ones. A crucial element that constitutes an “outstanding” photographer is an inherent sense to “share the space” with videographers. This is extremely vital as both photographer and videographer have key “money shots” that are essential components of the photographer’s album and the videographer’s DVD (or other delivery medium). In a wedding I recently recorded for a very special family, I found myself working with one of the most difficult and selfish photographers I’ve ever encountered. Not only that, he brought his son as a 2nd camera, and together, they seemed to go out of their way to crowd me out of all the aforementioned “money shots.” I was able to get them, despite their obliviousness to my presence, as if I wasn’t entitled to the same space they occupied. As we reached the “I now pronounce you” moment, I actually had to physically move one of them so that I could capture “you may now kiss your bride!” The guy seemed stunned that I pulled him out of the way and I can assure you that as a 240-pound former Marine, I was no longer in the mood for these antics, as this had gone on throughout the ceremony.
This behavior wasn’t missed by the family who were equally displeased, and said so to me. The disappointing part is that I go out of my way to befriend not only the photographers assigned to a wedding, but all of the vendors. I’m also pleased to say, that this is a rare occurrence. We all have important jobs to do to make the day super special for the bride and groom, and their families and friends. In order for that to happen and for us to do our jobs in ways that exceed expectations, we have to…wait for it…share the space!
It’s been said before, but bears repeating: Every video should tell a story! Even 15 second commercials do this, so it stands to reason that anything longer should be a no-brainer, but it often isn’t.
So, let me point out that the nucleus of any story should have three main points:
Yeah, I know it’s simplistic, but this is the cornerstone of any story “arc.” Having spent 30 years in marketing, there is another way to look at it:
If you do this right, there’s one last three-point metaphor:
Note: for those interested in delving into the full complexity of story development, there are hundreds of books, blogs and videos that will expand your horizons. I just wanted to keep it short and simple today…lots of projects in the workflow !
In my May 21st blog, last year (“Can you give me a ‘ballpark’ quote?”), I broke down the elements of a video production to illustrate what goes into a bid for a project. In that article, I mentioned that post-production is a subject that should have its own story, so here it comes today!
To review, the components that play into how a job is priced includes:
So let’s unpack that last one: Post production. A simplistic definition would describe it as everything that happens after production wraps, leading up to the delivery of the finished video product. It’s only when we drill down further that we find out what that really means…
- Editing. The art of taking the raw footage—with its audio—and turning it into something useful. I believe too many on the “client side” have limited understanding of what goes into good editing, especially the time it takes to do it right. And there is NO correlation between the aggregate time of the source footage and a finished sequence. Even if the desired time for a video is one minute, it could take hours (or even days) to whittle a lot of raw footage into that really special promo/talking head/commercial piece! A good shooter will capture footage with editing in mind (especially if it’s the same person doing both tasks), but editing is still the process that can take the most time*.
- Audio. This subject actually has two definitions. The first pertains to adjustments that are often necessary to “sweeten” the audio captured with the source footage. Depending on the quality of that sound, it may not require much work—but it can! A good editor typically has an audio application just as robust as the editing program and I’m pleased to have the Adobe suite that includes Audition, in my workflow arsenal. Nothing can undermine a video like bad audio, so major attention needs to be paid to this crucial element. The second context pertains to the music bed that sometimes rides under the video. This sound track should complement the tone of the visuals and NEVER compete with it. We’ve all seen videos with the audio track WAY TOO LOUD (yes, I’m yelling!), and even with volume controls, an audio track should never overwhelm any spoken word in the video.
- Titles, Graphics & Effects. Call this the “glue” that brings everything together, “TG&E” make for a nice opening and closing to your video. Effects should never be so dramatic that they become a distraction; they should be an enhancement to your presentation.
I hope this addresses the point that creating a video is comprised of many moving parts. Make sure your video production company understands them all and can pull the “pieces of the puzzle” together into a cohesive, compelling video!
Happy New Year!
* I am often asked how long it takes to edit a project. And while there is no specific answer (no dodge here!), reputable sources (plural) say that it can take from 1 to 5 hours to produce 1 minute of finished video. The range represents the complexity of the edit; the more elements (footage, graphics, titles, music, effects, rendering, color correction and others) the longer it will take. In the context of the “ballpark quote” article, post production can easily be equal to—or even higher than—the cost of production itself.
As we close out the crazy year known as 2016, I would be remiss if I didn’t say a sincere THANK YOU to all the clients I served. And as we head into 2017, there is only one question: GOT VIDEO?
Let’s do something together in this next year and you can see what other clients have learned: Great video does NOT have to break the bank!
First, my sincere thanks to all my clients who entrusted their video work to First Impressions Video! Whether a direct production or as a freelance contributor, 2016 was a very special year, and I am truly grateful! And as we head into 2017, just remember this important axiom: Rule #1…don’t sweat the small stuff. Rule #2…it’s ALL small stuff!
May we all be wildly successful in our respective endeavors in the coming year!
I hear that question a lot. Unfortunately, there are a number of elements that affect the price of a video. No, that’s not a dodge, it’s the truth. What would you say if someone asked you this question:
How much does an airplane cost?
In thinking about the variables in play to answer this question, you begin to get the idea there are a lot of things to consider! I know my way around aircraft and there are easily thousands of questions, like are we talking about fixed wing or rotary wing (helicopter)? So let’s dump the airplane example and get back to video. Let’s start by posing a few questions that should be addressed before we answer “that other question.”
- Rate. Often described as hourly, half-day and day rate. Many videographers don’t price by the hour and some only price on a full day-rate basis. Hourly averages range between $25 an hour from that film school grad you know to $250 an hour for a top-flight video veteran. My hourly average hits right about the center: around a hundred bucks an hour. Which lends me to…
- Equipment. Sure you could whip out your smartphone and shoot away, but is that really the look you’re going for? If so, stop reading! Otherwise, continue. There are $20,000 cameras out there (don’t forget lenses!), $2,000 microphones, and lights that weigh as much as a Volkswagen, but is that really necessary? Is there a line item charge in the project budget for equipment? I have professional level gear that you may not see Spielberg using, but it will produce corporate video that will resonate with your audience and you won’t need stockholder approval to shoot! Oh, and my rate includes the aforementioned pro-level gear! Cameras, mics, lights, sliders, tripods, gimbals…oh my! Only if I have to create a specific effect might extra equipment fees enter the equation. I don’t have a drone, though I have access to one through an industry colleague, and this is considered specialized equipment.
- Personnel. I started my business as a single person crew (“SPC”) to be able to deliver quality work at an affordable rate. That doesn’t mean that there won’t be multiple cameras, mics and lights…it does mean that I know how to be efficient in the deployment of this hardware (including setup and take down) by myself. And in those instances where it just makes sense to have a grip, 2nd camera op or sound person along, I have a rolodex full of these folks that can be called in. Also in the category of personnel: talent. Does the project require professional acting talent or will we be shooting personnel from the company being filmed?
- Time. How comprehensive is the project? Can we do it in a day? A few hours? What will be required to edit the acquired footage? When is the project due? And by the way, just because the finished deliverable is “only” 5 minutes long doesn’t mean that hours, and sometimes days of production didn’t go into what is ultimately seen on screen.
- Post-production. Because this is a future article all by itself, I’ll be brief here. Post-production includes the components that help make the video “pop.” Editing, music selection, titles, graphics, animations, voice-overs, special effects. A word of caution here: less is often more.
So there you have just a few of the key elements of a video. Truthfully, anyone who would just throw out a “ballpark” quote without reasonable consideration of the variables I’ve shared here is asking for trouble. I would much rather take a modest amount of time to talk about those elements so I could provide a quote that would be meaningful for all parties involved. I may miss out on a few jobs taking this approach but I’m as professional in my business methodology as I presume you are in yours. Consultations are free, and the result will be a production that achieves its desired results at a rate everyone finds acceptable.