Steve Stockman's Blog, page 12

Breaking the “Rules” of Video

While I liked the direct approach of your book, I have questions about the rules.

1) You say: Don’t ever use digital zoom.  But there are situations where you can’t walk closer to your subject.  Filming wildlife, concerts, Being at the crevice of the Grand Canyon, etc. This seems like a harsh rule.  Are there exceptions?

2) You tell people to keep their shots under 10 seconds long. Filming a music performance, I often find myself on a subject for 11 or 12 seconds.  Is this an absolute rule for you?

Seems like there should be some area for adjustment with these rules.

–Richie Vitale

Thanks for writing, Richie.  Let me answer backwards:

2)  I’m giving you guidelines to practice, not rules.  It’s like keeping your hands at 10 and 2 while you’re learning to drive.  Once you’re experienced, you can text, shave, drink coffee and carry on a phone conversation, all one handed, while driving the freeway to work.  Okay, perhaps it’s not like that.

But in art you should always play with the “rules”– even intentionally break them. I merely suggest learning them first.  That way you’re breaking them on purpose instead of out of ignorance.

For a more detailed answer re: short shots in particular, read here:  Shoot Short Shots? There are No Rules.

1)  On the digital zoom, though, that’s a rule.  Zooming optically (with the lens) brings a more detailed picture to the video sensor, so it can record more detail.  Digital “zoom” takes the picture that’s there and makes it bigger.  The blurry parts get bigger.  The dark parts get bigger.  You can’t see any more detail, but you can’t see it BIGGER.  It’s exactly the same as if you blew up the picture in your computer, and it looks exactly as bad.

If you want to do a “digital zoom” do it later, when you edit.  You’ll have more control, and you can change your mind.  If you do it in the camera, you’re stuck with it.

Is it possible that you are not following me on Twitter? Please click here to remedy the situation: @stevestockman

Steve Stockman

First Look Promo for Our New Series, BREW DOGS

Brew Dogs debuts September 24 at 10pm on the new Esquire Network.  Too early to set the DVR?  Naaahhh….

The Esquire Network will be where G4 lives now on your cable or Satellite.  Going to be good!

Steve Stockman

First Look Promo for My New Series, BREW DOGS

Brew Dogs debuts September 24 at 10pm on the new Esquire Network.  Too early to set the DVR?  Naaahhh….

The Esquire Network will be where G4 lives now on your cable or Satellite.  Going to be good!

Steve Stockman

Why Knowing “Why” makes Better Video

I’m an author who’d like to shoot promotional videos for YouTube marketing purposes

How do I put together a video of my books using just stock footage? Eventually, I’d like to put out a casting call on my local Craig’s List, getting free talent in exchange for a professional reference (after all, they can point to my site to showcase their abilities, as evident in my videos) — but for now do you know the best way to promote an action-packed techno-thriller???

Thanks for all advice!

–Dee

You’re asking about “how”– stock footage and actors are two possibilities among an infinite number of ways  to do a video.  But “how” is the wrong question when starting a video project.  The correct first question is “Why?”  Why do I want to do video?  All the “how” decisions will then get made based on your answer—your intent.

“To promote my book” is a start, but way too vague.  You won’t know if you succeeded until after the video is done and posted, so it won’t help you make any decisions about production.

But if you come up with a clear intent, figuring out “how” becomes much easier.  Start by going back to the Why. Why would someone read the book? Why is the book important? Why use video to promote it?  Brainstorm until you have a reason Why you want to do your promo that is specific and inspiring.  That’s your “intent.”

If your video’s intent is “To intrigue readers by sharing the action-packed experience of my book,”  you now know your goal is to “intrigue”, to “share an experience,” to be “action-packed”.  You can decide “how” to do your video ideas based on how well your “how” meets these goals.  How might you do it with stock footage? With actors? With sock puppets?  Now you’re ready to start creating.

Finally, an aside about “free talent”:  Just like you might write a free op-ed for the NY Times but remain unexcited about a lame blog with three readers, actors evaluate your offer to kindly allow them to work for nothing by whether there’s a chance it will be (a) great work and (b) seen by many.  Even a very popular author (b) still owes them (a) as part of the deal.  Think carefully about whether you can in good conscience promise great work to people who might work for you for free because of your rep as an author.  It’s bad karma to exploit people without a plan to deliver something of value to them.

 

Steve Stockman

The Value of Checklists (even if you’re not drinking)

I’m traveling the country this summer with the cast and crew of our new show “Brew Dogs” (coming to the new Esquire Network on September 24– the network debuts on September 23 where G4 is now on your cable or satellite.)

In each city we brew a stunt beer and hold a tasting at the brewery. The first couple of times we did it things went well, but as it was a live shoot with 200 guests, there was some confusion.  What props did the brewery need to have on hand?  What time were we starting?  Which cameras were on the stars, and which ones on the audience?  Who was shooting insert shots? When should we serve the beer? Who was introducing whom?

After doing this twice, we developed a checklist.  Followed in order, the checklist let the props people know what to have on hand, and  when.  The camera department knew what to shoot.  Suddenly things were way more organized.

Doctors, pilots and others who do not normally drink beer while working have also found improved performance using checklists.  The next time you’re shooting anything complicated, try writing all the steps in order.  Shooting chaos doesn’t have to be chaotic.

Steve Stockman

Why Some Critiques Suck: The Myth of “Brutal Honesty”

I have been an amateur photographer for ten years, and I have been through the critiquing process many times. I have paid professional photographers to critique my photography, always with the request that they be brutally honest in their observations and suggestions. I learned more from this approach than I did from any courses or workshops that I took.

I can’t seem to find anyone who is willing to do the same for my videos. Any suggestions?

-Bob,  Dalton, Ga.

First, let’s talk “brutal honesty.”

I’m not a big fan of brutality as part of anyone’s learning process.  Truth, yes.  But “brutality” seems like a convenient refuge for the small-minded to diss your work without contributing to your growth. Now it’s probably true that some people learn best by having a two-by-four applied to the side of their heads.  But wouldn’t you rather learn from someone who understands what you’re trying to do, and can make great suggestions without the pain?  Great teachers are out there, though you may have to work hard to find them.

Here some suggestions on how to find feedback even in a small town:

1) Join an on-line learning community like Vimeo Video School.  Lots of people learning and teaching, and tons of great training videos. You may be able to find talented people who’ll trade critiques.

2)  On-line courses.  UCLA Extension has courses in directing, for example.  I’m sure other schools do as well.  I know you don’t love courses, but some have instructor critiques built-in. I’ve known instructors who freelance doing student (and professional) critiques as well.

3)  If you really want a pro you might advertise on LA’s CraigsList or browse a film group on Linked In for a contact.  Talk to the person by phone, get references, and look up their credits (!!) in before you buy.

4)  Groups: Meet-up groups on filmmaking exist in most major cities.  Or start your own critique group with friends interested in video.  Share videos and share feedback.  Try exercises together like the ones in my book or this free download.  Learning to critique others is an important building block to critiquing you own work.  And critiquing your own work is ultimately what makes you grow.

One thing working in a group can teach you is how to critique effectively without the brutality.  Which might, for you, be worth figuring out.

Steve Stockman

The Filmmaker as Detective: Finding Story

I get what you’re saying about having story in video, but I’m stuck.

I’m doing short videos about the sales team for my company website.  Do I need a story?  How do I create one?

–Tracy

A story needs a hero, a beginning, middle and end. The easiest way to put it all together is to go in that order.  Start with the hero, then use your inner detective to find the story.

Anyone can be your video’s hero.  They don’t have to fly or wear a metal suit.  But they do have to be interesting. As the filmmaker, deciding who is MOST interesting is your job.

Start with your gut– after all, it’s your video.  Who seems interesting to you?  Once you have a list of suspects, it’s time to play detective.  Research them.  Interview them.  Learn everything you can about the candidates.  Let your curiosity guide you as you learn more about their stories.

What are their goals in life? What are their goals for the customer or the company?  What do they need to accomplish to live up to their own vision of success?   What’s their struggle?  Everyone has a story.  Your job is to ferret it out.

Now choose the best stories from among your potential heroes– the strongest beginnings, middles, and ends– and be honest about what interests you.  A sales video about a guy who overcame a horrible stutter to be the best salesperson on the team will be much more interesting than the story of the nice woman who goes out with her nice clients and has a nice dinner.  The bigger the hero’s goal– the greater the potential for failure or huge success– the better the story.

Steve Stockman

How to Shoot Graduation Video that Doesn’t Suck, Part 2

Graduations:  An opportunity to be with family and create memories,  Graduation video:  An opportunity to, if you’re not careful, shoot some of the most boring footage ever.  Read on for more tips on how NOT to shoot graduation video that sucks (Did you miss part 1?  It’s here):

4)  Think in Shots:  Short shots involve viewers more than long, rambling video.  Don’t run the camera continuously. Just because you can shoot for 2 hours on your camera doesn’t mean you should.

5)  Find Your Hero:  Every shot in a video should have a hero—the person or thing the shot is about.  “Sarah giving her speech” or “Emma high-fiving her friend.”  Your job is to focus your shot on that person or thing that interests you so that we see it too.

6)  You represent your children:  Older graduates can take the stage armed with smartphones or other small video devices. But smaller graduates can’t sneak video while graduating, and no graduate can shoot themselves from the audience’s point of view.  That makes you your kid’s best hope of seeing what it all looked like 20 years from now.  Take some great shots of their closer friends or teachers.  Interview some of the relatives.  Give them a great video to look back at.

 

 

Steve Stockman

How to Shoot Graduation Video that Doesn’t Suck, Part 1

The big day is almost here.  Your little boy/girl is about to take that first big step into the real world and graduate from Grad School/College/High School/Middle School/6th Grade/Kindergarten/Preschool.

Graduation, the event that used to happen only once or twice in a lifetime now seems to happen every time you turn around.  It’s become a much-celebrated family Event.  That’s “event” with a capital “E”, which means you have to be there, and you have to have your video camera.

Here’s how to make Graduation videos that work:

1)  Plan a little:  Pre-school graduation may be kind of free form, but by the time you get to the big leagues, you’re likely to get a program when you walk in.  The program tells you when you’ll get your best shots.  As soon as you walk in, look around.  where do you need to be to get your best shots?   From where do the Graduates enter?  Where will they sit?  Where does the diploma get handed out?

Thinking a little about your vantage points helps you be in the right place at the right time.

2)  Stay Close to the Action:  The closer you are to the graduate, the better.  Faces tell us everything about human emotion.  If you can’t see them, you lose the feel of the event.  And as your little one grows up, it’s her face at age whatever that you’ll want to keep coming back to.

3)  Don’t be Shy:  You don’t want to cause fistfights in the elementary school auditorium by blocking somebody’s grandma’s line of sight, but neither do you need to sit in your seat and hope to shoot around her hat.  Be as polite as possible, but go where the shot is going to be.  Get close to your graduate, and your shots will be something to remember.

Next: More tips in Graduation Video, Part 2.

 

Steve Stockman

Intrigue In Action

Following up on last week’s post, my friend (and storytelling/marketing expert) Andy Goodman sent me this spot and the message “Get a tissue before you watch.”  It’s powerful, emotional and beautifully done.

It’s also a brilliant model for creating intrigue.  The film pulls viewers in by getting us to play two different guessing games as we watch.

The first game is “What am I seeing?” We’re shown a face that intrigues us, but we don’t know who it is.  We wonder, trying to make sense of each headline as the video gives us more clues– and then, finally tells us who we’re looking at.

The second game is “What is the whole piece telling me?”  By drawing us into game 1, the filmmakers intrigue us enough to play game 2. Now the succession of faces, identities and unrealized futures ignite our imaginations and raise another question: what do the faces have in common?  Why are the filmmakers asking me to imagine this?

At the end, the video answers our questions.  But by raising questions instead of telling us everything up front, we’ve been intrigued from the very start.  To really understand the power of intrigue, think how much weaker this piece would be if it presented it’s final message in the first frame:  “The Anti-Defamation League says we should hate less.”  Duh.

But by brilliantly intriguing us, by making our brains work and feel real emotion, the filmmakers have involved us in a video we won’t easily forget.

 

Steve Stockman