Business

The Video Industry is Usually Work for Hire

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In the video industry, it is very rare for a video professional to retain rights to the footage. Video productions are usually a complex and collaborative process that involves more parties and financial involvement than a typical photo. As such, the videographer of director of photography is rarely the copyright holder.

Here are a few points to consider.

  • Cash is power – Whoever pays for a production is typically the copyright holder. This can be a client, television studio, or independent producer. The standard in the world of video is work for hire.
  • Unused footage – Most funders will expect that all footage you shoot while on assignment is theirs. On the road to an exotic location for a client? Even if you’re just there to shoot a 60 minute interview, they may expect that all the footage you shot will belong to them. Be sure to clearly spell out your expectations and read any agreements before you sign them.
  • Request portfolio permission – Be sure you get in writing your rights to show work samples. This may be limited to client selected portions or can be denied all together. It is best to negotiate your rights up front so you can show your work.
  • Self-funded productions – Nothing keeps you from pursuing other models of production. There are certainly self-funded and distributed projects as well as the opportunity to shoot and license your own stock footage. The limitations on this front are really based on traditions. Because video production and distribution has been such an expensive undertaking, the power usually lies in the hands of the network or studio model. Be prepared for an uphill battle if you want to change the status quo.


I'll present more on this at the ASMP Strictly Business Conference in Chicagp – April 1–3

TV Networks Thinking More Like Web Marketers

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CBS and Nielsen are pushing for a new way in tracking TV viewership. TV has finally realized that age and sex don't seem to be good predicators of audience behavior. After extensive research, they are pushing for a model based on what people buy and what makes them buy than demographics.

The new categories they are suggesting are:

  • TV companions: For this group, TV is almost always on and is like a member of the family.
  • Media trendsetters: Early adopters of technology and new content, and also 39% multicultural.
  • Sports enthusiasts: Made up mostly of men, but most guys aren't classified here. This group also likes action-adventure programming.
  • Program passionates: Highly involved with favorite shows, and the biggest DVR time-shifters.
  • Surfers and streamers: Most open to watching alternative content on TV and most often using laptops or tablets to multitask while watching TV. They skew young, but include a large component of 50-plus people.
  • TV moderators: Those who enjoy being experts and leading others' choices.


Here's a detailed article on the change – http://adage.com/article/mediaworks/cbs-viewers-age-sex-matter-marketers/149534/

What do you think? To me it seems more like they are catching on to how the web has worked for years.

Slide Decks from RHED Pixel Open House

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The Business of Intranet Web Video

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Creative professionals know the impact that video has when it comes to changing minds, hearts and attitudes. Nothing is more compelling or effective than powerful visuals combined with meaningful words. With all of this possibility for persuasive message delivery, why then is video in the workplace frowned upon so often? Many corporations have blocked access to most web video portals. Some even go as far as to remove media player software. Their concerns seem to focus on reducing wasted time and protecting employees from inappropriate materials.

Read the whole article over at Creative COW for free – http://magazine.creativecow.net/article/the-business-of-intranet-web-video/

Writing a Video Treatment

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The treatment is considered a standard part of the development cycle for most film and television productions. The truth is that all kinds of video producers can benefit from creating a treatment. The goal is to write a single document that defines the video’s concept and summarizes the creating approach to be taken. The best part of making a treatment is that is formalizes the creative process for the producer. The major benefit here is that the document can then be shared with others as you work with other creative professionals, get approval from a client, or even seek funding or approval.

We recommend the following approach to developing a treatment:

  1. Define the Goals and Set Parameters. What is the core message you are trying to convey. Who do you want to watch the video? What’s the desired outcome you’d like to create (volunteering, purchases, political change, or a good laugh?) What’s your budget and how long will the video run.
  2. What’s the Concept? You’ll want to be able to quickly summarize the thene and objective for the video. Describe to others the core message and frame its delivery method.
  3. What’s the Approach? Now’s the time to lay out the specifics. This is generally a narrative summary of the journey the audience is going to take. In a way, it might resemble a book report you wrote in school. A clear summary that reveals all of the important details which will be presented to the viewer. Describe specifics that will elicit response by the audience including music choice, shooting style, and editing approach. Describe the emotions you will solicit along the journey and how the audience will feel at the journey’s end.

DSLR Fundamentals on March 23 in DC

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Join Richard Harrington, a Director and Editor as he shares practical workflows for DSLR projects. Seems a lot of attention gets spent on shooting DSLR video, but there's a lot more to a complete production. Learn essential planning techniques including planning for storage, synchronization, and gear selection. Rich will also demystify post production with a particular emphasis on native editing. Learn how to transcode less and edit faster (no matter which NLE you choose).
Register here – http://dcfcpug0323.eventbrite.com/event/1372291561
Use the code DCDSLR for free admission

Wednesday, March 23, 2011
6:00 PM

RHED Pixel
180 S Washington St Falls Church, VA

For more on DSLR video, check out From Still to Motion.

Playing Fairly and Pricing Fairly

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The world of video is going through a revolution when it comes to pricing. When I started my career, tape decks were more expensive than cars and a complete editing system cost more than my townhouse. Oh how the world has changed.

The video industry is experiencing a race to the bottom. Gear keeps getting cheaper, which is a good thing in many ways. The problem lies in the cost barrier. Just as many photographers been frustrated by every schmo who buys a DSLR thinking he or she is a pro photographer, so have video professionals felt about photographers thinking they are video pros. Add to this sudden influx hundreds of schools pumping out graduates from media programs and you have a cluttered workplace.

I do not say the above to be protectionist or confrontational. The fact is that the video industry needs to evolve and will benefit from fresh talent and fresh ideas. Just don’t piss in the pool after you jump in.

Take a look around you and see what business practices others are following. Here are a few that I wish more would follow for the good of the video industry:

  • Price fairly – Different businesses will need to charge differently for their services. Still, be sure you price services so you can survive for the long term. Be consistent with your prices and be sure to cover related costs like facilities, insurance, and equipment.

  • Don’t do spec work – There is a lot of pressure to do unpaid work in the video field. Taking spec jobs to prove capabilities or show interest in a client. Look at other professions, they don’t face these same pressures. If you truly need to expand your portfolio, seek out legitimate nonprofit organizations and make a donation of your time and skill.

  • Don’t badmouth your competition – Your only true competition is yourself. Speaking ill of your peers will only lower the standards of the industry as a whole.

  • Your problems are your problems – Always pay your subcontractors (even if you haven’t received client payment). Similarly, you should not accept excuses from others above you in the client chain due to delayed payments. Make sure you responsibly keep payments flowing to those you hire.

  • Act more like a lawyer and less like an artist – I’m not saying shelve your creativity... but remember that you are a trained professional with a code of conduct. You need to remember the important aspects of client management, professional communication, and ethical business practices if you want to succeed in video for the long term.

Age is Just a Number

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I have seen myself go from being an upstart kid to a balding professional. But I have learned this... age is just a number. I have worked with wonderfully talented “kids” throughout my career. I have also chosen to surround myself with those who are more experienced than me. Both parties have added to my understanding of this medium and its creative applications.

While the guild system of old is all but destroyed, you can still preserve its spirit. Seek out others who you want to work with. Ignore their age and instead look at what they have to offer to the creative process. An open mind goes a long way. I continuously learn things from even the youngest employee or crew member. I also have learned to listen when someone else has something to say.

Video is a collaborative medium and one that has undergone a century worth of change in the last ten years. Bluntly... shut up and listen. Put any preconceived notions you may have about age or experience aside and open yourself to opportunity.