The Videographer’s Guide to Award-Winning Visual Storytelling

The Videographer’s Guide to Award-Winning Visual Storytelling

How to create interviews and other videos that tell your story

© Marc Silber 2011. All Rights Reserved.

Email and post this eBook freely, but please credit us and don’t sell the
content or change it without our express permission.
TABLE of CONTENTS

Chapter 1: Introduction
a. Why You Need Video: Startling Statistics On the Web
b. Doing It Just Like Hollywood … Sort of
Chapter 2: Pre-Production: Planning Your Video
a. Pointing The Way
b. The Outline
c. The Budget
d. The Script
e. The Cast
f. The Set
Chapter 3: Production
a. Setting Up Your Set
i. Keep It Simple
b. Camera Positions
c. Lighting
d. Audio
e. Make Them Comfortable
f. Get Your Release Signed
g. Make Up and Wardrobe
i. Even Men Need Powder
ii. Hair
iii. Watch for Misplaced Clothes
h. Director (Do It Like Clint!)
Chapter 4: Post-Production
a. B-Roll
b. Adding Stills
c. Titles
d. Music and Resources
e. Credits
Distribution
f. YouTube
g. Your site
h. Social media
CHAPTER ONE
Why does your website need video?

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CHAPTER 1: Why does your website need video?
Welcome to the age of video. On almost every professional website
you turn to now, video is a prominent feature of the layout. It’s a phe-
nomenon that has been brewing for decades now, as most people
have now grown up with television. And video is even more relevant
to today’s younger internet users, who often expect to see it on sites
they visit.
Perhaps that’s why the biggest changes appear to have occurred in
the last 5 years. Traffic to websites with video has skyrocketed, and
professional video production is available to you for a fraction of what
it would have cost just a few years ago. The following stats provide
more of a glimpse into this recent explosion in video growth:
• Fact: Cisco predicts by 2013 that 90% of all web traffic will be
generated by video.
• Fact: As of Feburary 2011 YouTube had 490 million users per
month, who spend 2.9 million hours viewing per month according
to Mashable.
• Fact: Internet Retailer reports that shoppers who viewed video on
product pages were 144% more likely to add to cart than other
shoppers.
• Fact: Video results appear in about 70% of the top 100 listings ac-
cording to Marketingweek.
• Fact: By hosting your videos on your own YouTube Channel your
videos can show up in search results much higher than other web
content.
• Fact: Kelsey Group study found that 55% of people who view a
video visit the company’s website and 24% make a purchase as a
result of watching.
Taken as a whole, these facts make it fairly clear that a business with-
out a video presence is falling quickly behind the new wave of inter-
net traffic.
Why do you need to read this eBook?
Like it or not, if you are the one putting video on your site, you are an
“Executive Producer.” And that means you’ll need to know enough
about your craft to be able to pilot through all the choices.
Of course, we COULD try to cram an entire film school curriculum
into this eBook, but that would leave us both with headaches. Instead
we’re focusing on just the basics. With this foundation set in stone,
you can then try to build on your know-how.
It’s just like Hollywood. Sort of.
The basics of producing a video are a scaled down version of how it’s
done in Hollywood. Yes, all those functions that you’ve seen in the
movies are there, just minus the entourage and groupies. Here’s what
it looks like:
When you come up with the idea and decide to get it made you are
the Producer.
When you start to write your story down you are the Screenwriter.
When you decide who to shoot in it, whether it’s an announcement
by your CEO or an interview, you are casting to put the best person in
the video.
You then get approval for your project and budget and go out look-
ing for someone to shoot it and edit it.
Then you decide on the location, and the set where it will be shot.
Camera lights and audio will be handled by your production team,
but you’ll want to know what their needs are first.
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CHAPTER 1: Why does your website need video?

When your subject comes in the room to be shot, you need to have
a Director who tells them what is needed and puts them at ease.
You should have already told them what to wear (their wardrobe.)

Your makeup and hair person looks them over and primps them as
needed, making sure no collars and hairs are out of place.

Your Director takes them though the shoot, with as few takes as pos-
sible but making sure they get it right while keeping the talent cool
and comfortable.

When it’s all shot, we’re off to the world of post-production where
we need to edit footage into its most usable form. This requires a
sharp eye and is a tight collaboration between your Director and Editor.

The Director makes the big cuts so the shots flow together and tell
your story, while your editor makes it work technically.

You’re now ready for your first screening. Here you’ll have those
whose approval is needed sign off, or give you items to change.

Once any changes are made we add b-roll (supporting footage that
adds dimension to your main footage), which can really elevate the
quality of your production. Now we add text, titles, graphics and
credits at the end.

Then a final review and, when everyone signs off, your video is ready
for release and distribution.

It’s okay if some of these steps are whizzing by. Study them, prac-
tice them and take it slowly. They’re all here, and the more you know
about each one, the more you’ll be in control of your production and
the better your end production will be.

3
CHAPTER TWO
Figure out your planning and just get it done.

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CHAPTER 2: Figure out your planning and just get it done.
The biggest time and talent waster is lack of planning. Starting a pro-
duction with no idea where you’re going with it is like driving blind.
However, it’s also important not to stifle your work by getting stuck in
the planning stage and being too paralyzed to actually get anything
started.
In other words, keep the plan simple.
Here’s an example pattern for your video planning:
1. Working Title: What you’re going to call it and what it’s about.
2. Purpose: What your video is intended to do and why you’re making
it. If you’re making an intro of your company for your web site, than
that’s your purpose. For example, “To give a friendly and easy introduc-
tion to our company, with an orientation to our team and products.”
3. Type: Are you making an interview? Or short advertisement for an
upcoming event?
4. Length: This is the projected length of your completed video.
5. Budget: How much do you actually have allocated for this produc-
tion?
6. Outline: Write out what your video is about and how it will be shot.
If this is a lengthy production this will be developed into a script and
storyboards.
7. Producer: Who “owns” this project? There’s got to be a top dog
who sees it through all the way to completion.
8. Crew (on a small shoot this may end up being two people who share
these responsibilities)
a. Director
b. Director of Photography
c. Gaffer: Handles lights
d. Sound person
e. Props and set
f. Makeup, hair, wardrobe.
g. Legal (makes sure you have a release for anyone in your
video and you have rights to any video, music, photos,
etc. used in it.)
9. Subject: Who’s in your video
10. Location: State exactly where it’s to be shot, e.g “The CEO’s office.”
11. Equipment
a. Cameras
b. Lighting
c. Audio
12. Notes:
Once you have these points dialed in you’ll be able to complete your
planning, which will include:
a. The Script. Even if you’re producing an “unscripted”
video, you’ll need an outline and bullet points to follow.
Make sure that it stays on point.
b. The Budget. When we are called about producing a
project we always ask what the budget is. This is not a
point for our negotiation, but it gives us the range of
scope for the project. I always explain that video pro
duction is like remodeling a kitchen: how much you intend
to spend will drive the project. It all comes down to time (for
you and your crew) and materials (in video it’s really equipment).
It’s important to confront what you intend to spend, or at least a range.
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CHAPTER 2: Figure out your planning and just get it done.
I know people hedge on spitting out a number, hoping they can get
a lo wer price. But whoever is going to produce this (even in house)
needs to know the range and scope of the project. And if the budget
and expectations don’t match, it’s better to iron that out at the get-go
than to get part way in and realize you’re about to run out of gas.
SET DIAGRAM
PRE-PRODUCTION ACTIONS:
Engrave this law on the inside of your forehead: As the Producer and/
or Director you are fully responsible for everything that goes on in
your shoot. This is the harsh reality of it. Whatever you don’t plan or
take into consideration will bite you in the rear, and if you don’t be-
lieve that, experience will teach you that lesson soon enough.
If you have failed to prep a guest and they show up unprepared and
nervous, you’re going to have to fix it. If you were going to shoot in
a location that requires a permit and you skipped that, and then get
tossed out and now have no place to shoot, it’s still your shoot to pull off.
So, keep this in mind and look over all points that could go off the rails.
Repeat to yourself the classic Boy Scout mantra: “Be Prepared!”
1. Set up your set: Where are you going to shoot this? Some points to
consider:
a. The size of your space: Will you have room for the
lights, cameras and action going on in this space?
b. Audio: There’s nothing worse than trying to get a clean
shot done in a noisy space. Are you near outside street
noise or where people will be walking by outside making noise?
2. If you’re going to be conducting an interview with a person you don’t
yet know, it’s very important to call them or talk with them a few days
before the shoot. You want to introduce yourself and talk about the
purpose of the video and what will be expected of them.
On the surface this is a discussion of the mechanics of the video shoot,
but a deeper reason is to get to know your subject and for them to get
to know you. They can sense that you’re confident (so you better be)
and this starts to unwind some of the natural nervousness that seems to
accompany anyone having lights and camera focused on them.
I always ask how they like being on camera and discuss it with them to
take some of the edge off of it.
Questions are tricky. You want your guest to have fresh answers, yet you
don’t want to catch them off-guard. Even though we don’t talk about each
question I’ll ask them, I do email the questions prior to the interview so they
have a chance to review them and even make notes about their answers.
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CHAPTER 2: Figure out your planning and just get it done.

Discuss what to wear: Solid colors are best. Avoid stripes and other
designs that could dance on the screen. As far as how they dress, this
is guided by the purpose of the video and its audience. In a busi-
ness setting this depends on the local customs. Even in Silicon Valley
there’s a big difference in dress between Mtn View (say, Google) and
San Francisco. If there are specific needs though, state these clearly
and don’t leave it to chance.

Confirm the time and place for the video shoot and answer any other
questions.

3. Check over equipment: Your needs will vary from shoot to shoot,
so make sure to be prepared for your exact shoot. In any case, be
sure your basics are completely covered:

a. All equipment needed for the shoot is ready and working.

b. Batteries are all charged.
c. Your cards are cleared off and formatted.

4. I print out my interview questions on 4x6 blue cards. (BTW, why are
these questions always on blue cards? They are easier on the eyes
and camera, avoiding a flare that you could get off a white card.)
I’ll rehearse them so they flow easily and I don’t have to look at the
card when asking. (I want my attention to be on my guest, not on my
cards.)

5. I make sure I have all items ready for the shoot in a folder. This
includes releases that need to be signed by the guest, my blue cards,
my planning, phone numbers and directions to the shoot, notes, etc.

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CHAPTER THREE
Production

8
CHAPTER 3: Production

SETTING UP YOUR SET

You’ll need to arrive with plenty of time to get your shoot set up.
The amount of time needed varies from shot to shoot. If we’re do-
ing an “on location” shoot at a business with a single interview and
maybe two cameras, where the location is pre-set, you can usually get
away with arriving an hour and a half before the shoot.

But a word of warning: Many times you’ll find the locations that have
been picked for you will not work, either because they’re too small,
too noisy, are cluttered in the background, etc. So be prepared to
ditch that location and quickly find another that will work, if at all possible.

Also, be sure to look at the set and pick what will work as the best
place to shoot your guest. Then work out camera placement. This will
often require moving furniture and setting up an entirely new set. ONE SHOT

Remember what the great photographer Arnold Newman said in jest,

“Photography is 1% percent inspiration and 99% moving furniture.”

All kidding aside though, Newman had a point: Always be willing to

move and change and create a whole new set.

Watch for lines and objects that could distract from your guest, such
as a tall plant coming out of their shoulder, or a shelf behind their head.

A clean background with some simple objects in the frame works well
for interviews. Watch for reflections and anything that would distract
your viewer. You want their attention focused on the conversation, not
on the set or background.

TWO SHOT

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CHAPTER 3: Production

CAMERA POSITIONS

If you are shooting a two-person interview where the interviewer will

also be in the video then you’ll need at least two cameras: A “two-
shot” that covers both the interviewer and the guest, and a “one-shot”
that stays tight on the guest.

If you have an interviewer who will not be in the video, it’s best to seat
them next to your main camera so the guest answering looks at them
and not directly into the camera. For safety’s sake and to add more
flexibility in editing, it’s helpful to have a second camera positioned
at an angle focused on your guest. Then your editor can cut between
these two cameras.

Depending on your style, you can add an edgy look by having your
second camera edited in as black and white, and/or have it be hand held. Lighting Diagram

Your set ups will establish the set and lighting accordingly.
LIGHTING
There is so much technique and so many variations in camera and
lighting that we’re not going to go into great detail here. But here is a
basic and workable approach:
Key light: This is from a large light source and will be high and
pointing on your subject.
Fill light: This gives dimension to your shot and fills in shadows.
It can be a small softbox or any other light source.
Again, you’re creating a clean and simple look that doesn’t distract
the viewer.
Lighting events: When someone is giving a PowerPoint pre-
sentation the room is often kept dark to give the projector the
brightest image, but then if your subject is dark you’ll have a
problem with your video. So take this into consideration when
setting up your shoot. Get a narrow light on to your subject that
doesn’t spillover to the screen.
As a note, don’t try to shoot a PowerPoint as part of your video. You
can add slides into your editing in post-production.

Back light: Lighting placed behind or to the side of the subject,

used to separate subject form Background and to add depth.

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CHAPTER 3: Production
CAMERA SETTINGS
Once again, with so many variations in equipment and set up, we’re
just going to give broad strokes on camera settings.
At the very least you’ll want your main camera on a tripod. Second
only to poor audio, nothing turns off viewers faster than a bobbing
camera. You’ll want to set it up at the height of your guest and host so
that you’re on the same level, not looking up or down.
Framing: This means to fill the frame of your shot so that you utilize
the frame rectangle well. For the two-shot you’ll want the two people
in it with good balance between them and the room. For both the
one-shot and two-shot it helps to have a defined frame edge by plac-
ing some object – such as a painting or a plant – in one corner. This
can also add color and interest to an otherwise dull background. Just
be careful not to go too far and pull the viewer’s attention away from
your subject.
Focus is crucial, so get it nailed down precisely. NOTE: Do not
set focus on auto. You don’t want the camera to decide what your
viewers should be looking at. That’s your job. One of the very first
interviews I did was shot by someone who made this mistake, result-
ing in a background that was nicely in focus … while I was completely
blurry! Needless to say the shoot had to be done over, which almost
cost us getting our first episode done on time. It’s chilling to think
how one small setting can throw off your entire project. That’s why we
say “the devil’s in the details” – let one detail slip by and you’ll have
hell to pay.
Most cameras come with features that will assist your focus. Take ad-
vantage of them. The other side of this coin, however, is to leave out
of focus what you don’t want your viewers to concentrate on. This is
done by controlling your depth of field, i.e. changing the f-stop. But
don’t make this so narrow that your subject will go in and out of focus
as they move.
Set the white balance using the instructions for your camera. This is
very important. We’ve all seen instances where this wasn’t set prop-
erly and it showed up off color.
AUDIO
The most common reason someone will click off your video is be-
cause it has poor audio. They might even forgive some issues with
how it’s shot. But if the sound is bad, they’re gone.
During interviews, we use lavalieres (small microphones cliped onto a
lapel) for both the guest and interviewer (unless they are not going to
appear in the video). These are threaded under a jacket or shirt and
attached about 4-6 inches from their mouth. Make sure the tiny mic
does not scrape on clothing or the cord.
MAKING YOUR GUEST COMFORTABLE
Get all of your set ups ready before you bring the guest onto the set.
In their often already uncomfortable condition, they don’t need to en-
dure your set-up process. So get it all done and then bring them in.
GUEST ENTERS THE SET.
At this point we want everything cool, calm and collected, as your
guest is possibly rather nervous about what’s going to happen next.
We’re going to do everything possible to relieve that nervousness
and show them that neither you nor the camera will bite. This is where
your preparation is so important.
If a release is needed for the guest, get it signed now. Don’t wait until later or
you might forget it. Also if there is any issue with signing it, you don’t want to
waste time shooting and not able to use it. Get this handled up front.
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CHAPTER 3: Production
Your Director (who may also be the one conducting the interview) will
want to put his/her primary attention on the guest and making them
feel at ease. You’ll want to have an upbeat set. It should be inviting
and comfortable for your guest.
When they are seated you will make your final camera, lighting and
audio adjustments, with the Director keeping attention on the guest
so they don’t feel lost. This is also where you want to look at them
closely and make sure their hair and clothing are well placed. That
pesky strand of hair or misplaced collar will drive you crazy if you miss
it. Also, this is where a bit of powder may be in order for shininess or
perspiration.
When setups are completed you’ll want to get your guest “signed
off” by the Director. This might also be required by the Producer, and
sometimes even a client who might be on set. This is done by having
them look through the camera or at the monitor. Don’t skip this step,
because it is where we’re nailing down the look and technical aspects
of the shoot and, at this point, whoever needs to agree to it must sign off.
As the Director and interviewer I will let my guest know that the beau-
ty of video is that we can redo any answer they don’t like. Or if there
is a question they want to skip, we skip it. I’m putting them at ease so
they realize they’re not going to mess up. This is not tabloid televi-
sion, where we’re hoping to fluster them or catch them in an awkward
sound byte. On the contrary, my job as an interviewer is to create a
safe space where the two of us can have a friendly conversation. The
only difference is the camera
DO IT LIKE CLINT
Now that everything’s in position, your camera person should gently
say, “We’re ready when you are.” This is Clint Eastwood’s style of di-
recting: The Academy Award-winner doesn’t bark out commands like
“Action!” or “Cut!” He just gently lets the actors know they can start
when they’re ready and signals the camera person when he wants to
end the take. This keeps his set safe and natural, not jarring for actors.
The same applies to our shoots.
Clint also tries to get his scenes in one or two takes. We also try to
avoid retakes, unless they’re really needed. Often you can just pick
up from the last point before the outside noise, stumble or whatever
caused a new take to be needed. But sometimes your guest needs to
go back to your question and start over. Keep this to a minimum, as
most people get more self-conscious with each new take. In any case,
minimize attention on any mistake they may have made and just get
the part redone and move forward. Rely on your camera person to tell
you where to start from.
At this point I go into my interview questions, which I’ve prepared
ahead and are printed on my 4x6 blue cards. I simply begin asking
my questions, which I am genuinely interested in knowing myself. But
I use these questions as a beginning point. Once I’m rolling with my
subject they will often bring up points that I hadn’t thought of, which I
will follow up on later.
When I interview, I’m looking for the spark where my guest gets deep-
ly engaged and opens up. I can literally see this in their expressions.
Their eyes get brighter, their speech becomes more direct and they
might even be more animated. At this point I definitely shut up and
let them talk, because this is the reaction we’re looking for.
I then continue through the interview, getting more than enough for
the content of my video when edited down. But I don’t go beyond
the point where I know I’ve got it. If you do, you’ll notice your returns
will diminish and you may end up wearing down your guest.
After I know I’ve gotten enough, I’ll usually ask my guest if there is
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CHAPTER 3: Production

anything else they’d like to cover, and then get that. I’ll then ask my
camera person if there was anything else we should shoot. Sometimes
there was one question he feels needs to be recovered for safety’s
sake. This is also when we tie up any loose ends.

We then ask the guest to introduce themselves. As this will come at

the beginning of the video, we save this for the end of the shoot be-
cause by this time they are more relaxed and natural. We get a few
takes of this to be sure we’ve got it and we’re done.

We finally end off on the shoot and escort the guest out. Now you
pack up and put your room back in order and return to the studio.

13
CHAPTER FOUR
Post Production

14
CHAPTER 4: Post Production
When you‘re back to your studio, unpack and get all equipment re-
turned to its home. If any repairs are needed, get this noted to be
done right away so that you’ll be ready as soon as possible for your
next shoot.
Your next crucial step is to download all footage from your cards.
Unless you did this in the field (something we only do if absolutely
needed), this should be accomplished immediately.
We edit with Final Cut Pro (FCP) so I’ll describe that workflow, but this
should be applicable to most editing software. I am not going to go
into technical details that your Editor should know, just the general
workflow that applies.
In the case of an interview, your editor should place all the footage
in order, in sequence. He would then trim off the footage that will be
obviously unusable. (For example, you began a question and 30 sec-
onds into a take the guest wanted to restart.) This gives you a timeline
of possible footage. Your Editor should make a duplicate of the whole
sequence for you to mark and edit.
As the Director I am telling a story, so I have to make the call as to
what’s in and what’s out. I begin by watching the footage all the way
through, taking notes (or using makers in Final Cut). Now I know what
I’m working with.
My next move is to go through the footage and make rough cuts in
FCP. I’ve found this is the most efficient way to put a story together.
While I try to get close to the cut points, my editor and I both know
that he’ll need to “massage” these to get the actual cuts. I know rap-
idly if something needs to be in or not. After all, I was there in the
interview. But, having said that, this is often a process of elimination
as we continue to review. I’m cutting away what I know won’t work.
For example, Let’s say I can hear that my guest isn’t really answering
the question or the answer is vague and not really valuable data–Cut,
there it goes!
In other words, I’m looking for the content that really says something,
and where my guest is engaged as I described earlier in the shoot.
Having made this pass through, I’m usually left with much more than
can be used in the video. So I do another pass and make sure I don’t
leave anything in that doesn’t aid the story… no matter how much
I love it. I’ll also find that many times a certain answer can be cut
down. For example, let’s say the first 30 seconds the guest rambles,
and then answers my question. In editing I will cut to that point, leav-
ing out the ramble.
At this point you’re usually left with some tough decisions. Unfortu-
nately, though it might break your heart, you must toss out footage to
bring your video within the length you specified back in Pre-Produc-
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CHAPTER 4: Post Production
tion. I’ll often consult with my Editor when making these decisions.
Now, rolling through the video again I’ll sometimes find that the or-
der can be changed a bit. For example, perhaps the answer to a later
question will fit better when moved near the beginning. This is not
done to manipulate what the guest said, it is simply the sequence of
their answers that flow best in the story we are telling.
With your rough cuts done, your editor will take over and clean things
up and put it into a usable video for your client and anyone else that
has review authority.
We will get the footage to them or post it privately and ask them to
review and tell us any changes they want.
My editor makes those changes. Then we go into the real magic of add-
ing b-roll (supporting footage), fixing audio (known as “sweetening,”) im-
ages, text, music, etc. that add depth and really polish up your video.
Because it’s so important in your final video, let me talk about
b-roll and why you need to be collecting it at every opportunity. Let’s
say we’ve done an interview with a CEO who is discussing a recent
innovation. If we just see what he’s saying the viewer might not follow
what he’s talking about. But, add b-roll that shows this new device,
app or whatever, and we now have a dynamic piece. In fact, we try to
use as much b-roll as is relevant. The dialog from our guest carries the
conversation, and the b-roll keeps the viewer’s attention engaged.
Credits: Be sure to give credit as needed for video, photos, mu-
sic, etc. in your video. (We’re assuming you have rights and per-
mission to use these.)
Titles: In interviews we like to add a banner known as a “lower
third” with the person’s name, title and logo. This would come
on toward the beginning of their interview to give your viewers
a clear idea of who they are listening to. At the end of the video
we thank them for appearing and give their website URL.
Call to action: You always want to direct your viewers to the
next step. If it’s an advertisement video then they should click
on ___. If you are creating a series of videos for your blog, then
tell them to sign up for your blog. Whatever it is, tell them what
to do next. This can come in the end credits of the video and/or
in the “outtro” — the ending of your video.
PUBLISHING AND DISTRIBUTION
The best place to publish your video is YouTube, as it is the second
largest search engine next to Google. Here it is more likely to be
found. You want to add in a good description that really describes
what your video is about. Take some time to write this so that it entic-
es a potential viewer to watch it. You will also want this and your key
words to be SEO friendly, so read up on that.
To be sure you get the screenshot you want, we recommend that you
upload the specific image you want rather than using YouTube’s.
From here, you can embed your video in a blog, web page, link to on
Facebook and tweet it to get the word out about your new video.
Create a campaign to continue the discussion. Chances are you’re go-
ing to want to create a series of videos to tell your story and keep the
discussion going with your audience. This may be a series of inter-
views with your team, or with your enthusiasts. Each video tells part of
the story and you invite your viewers to come along to hear the rest of it.
SUMMARY
Now that you have an idea of how to create your own interviews and
other videos, your next step is to start! The best advice I can give you
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CHAPTER 4: Post Production

is to follow our suggestions here and simply choose a subject and be-
gin the process.

If you need our help, we’re here for you. Stay connected with us at Sil-
berStudiosInc.com, where you can find resources and tips to help you
produce your own videos. And if you ever run into trouble, remem-
ber: We’re here to help.

Good shooting!

Marc Silber

17
ABOUT the AUTHOR

Marc Silber began taking black & white photographs in the 60s, begin-
ning his photographic career at the legendary Peninsula School, avidly
learning composition and darkroom skills. He seemed to always have a
still or movie camera in his hands.

Through his photographs he has been able to capture the expression of

life, each telling a story; this desire to tell a story has propelled his video
career.

He honed his skills at the celebrated San Francisco Art Institute—one of

the oldest and most prestigious schools of higher education in art and
photography in the United States.

Today Marc loves to produce compelling videos, such as his widely ac-
claimed series “Advancing Your Photography” which began at Ansel Ad-
ams’ home and darkroom, he then moved on to interview scores of top
photographers capturing their insight and tips.

He loves to produce well crafted interviews, as he said, “no other ap-

proach gives such genuine connection to my subjects, coupled with im-
ages and additional footage you can tell a powerful story.”

ABOUT SILBER STUDIOS

Silber Studios is an award-winning video Production Company

with its featured web-TV show having been awarded three Tel-
ly Awards for Education Excellence, Excellence for an Interview
Show (Marc Silber, host) and a People’s Telly, awarded by view-
ers for “Visual Storytelling and Production Excellence;” and has
recently received The Gold MarCom Award for its video “Marc
Silber visits Ansel Adams home and darkroom”

18
CREDITS

Edited by Jeff Racheff

Design by Eric Littlejohn

Thanks to my Producers along the way who got me started on the road of
motion and video and have been generous enough to teach me as we shot
and edited—thanks guys:

Rocky Barbanica
Sam Rider
Matt Cross

Email this and post this eBook freely, but please credit it us. But please
don’t sell the content or change it without our express permission.

19
APPENDIX A

• Learn the vocabulary of video and film on Quizlet. This is a good way
to get started, be sure to take a test after until you get them all cor-
rect. A word of caution: some of the definitions are lacking, so if they
don’t quite make sense, look elsewhere too to get a full definition.

• Filmmaking For Dummies by Bryan Michael Stoller. This is a good

place to get begin, it covers most of the basics

• How to Shoot a Movie and Video Story: The Technique of Pictorial

Continuity by Arthur L. Gaskill and David A. Englander. This short
book will get your started on the road to making videos that tell a story.

• Clearance & Copyright: Everything You Need to Know for Film and
Television by Michael C. Donaldson. Great book for answering your
legal questions. They also have a site to download free forms.

• CreativeCow fantastic resource to get your questions answered.

• One to One at Apple stores. An amazing deal at $99 per year. If

you’re learning Final Cut Pro, sign up for this and take your projects
in and get skilled guidance. As your skill comes up you may outgrow
a particular trainer, but just look for another one who can take you to
the next level.

• Advancing Your Photography. This is my show where I’ve interviewed

scores of top photographers. While most of these are about still pho-
tography you’ll find helpful tips that apply equally well to video pro-
duction as well. You’ll also see examples of how I conduct interviews
that I’ve discussed in this eBook.

20
APPENDIX B

Video Planning Form

Date:

1. Working Title:
2. Purpose:
3. Type:
4. Length:
5. Budget:
6. Outline:
7. Producer:

8. Crew
a. Director
b. Director of Photography
c. Gaffer: Handles lights
d. Sound person
e. Props and set
f. Makeup, hair, wardrobe.
g. Legal (makes sure your have a release for anyone in your video
and you have rights to any video, music, photos, etc used in it.)

9. Subject:
10. Location:
11. Equipment
a. Cameras
b. Lighting
c. Audio

12. Notes:

21
APPENDIX C

17 Tips for Creating Effective Videos 12. Whenever possible, have the CEO or Owner be your spokesperson.
We all like to hear from the top.
The following are tips for how to engage your potential customers with
on-point professional videos. 13. Relax; we can always do another take and edit out flubs.

1. Think of your video campaign as an on-going conversation with
your customers; don’t try to say everything all at once.
2. Plan each video with one clear message and a specific call to action
at the end.
14. Don’t use a flip camera, your iPhone or your cousin Jake who has a
video camera.
15. Audio quality is crucial; people click off when it sounds bad.
16. Keep your message clear and on-point. Less is more.

3. Tell a story with your video; make it entertaining to watch. 17. Don’t wait to produce a great video for your company; people are
waiting to find you and your unique qualities.
4. Use your actual, happy customers to tell your potential customers
how great you are — they’ll listen to them.

5. Use videos to stay in your customer’s mind. Visual recall is stronger

than audio recall; combine both for greater retention.

6. Keep videos short enough so people won’t hesitate to watch.

7. Connect them to your social media, which includes posting videos

on your website, FaceBook, linking to your emails, etc.

8. Include your logo and, if possible, supporting video clips to make it

more interesting.

9. Add music if it’s appropriate to help engage your audience and

keep up the pace.

10. Don’t produce videos by committee. The same goes for cooking:
you only want one top chef.

11. Produce a series of short videos about each of your services or products.

22