3 Tips for Planning Your #Video #Story

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ButterflyIt’s been a cold, rainy spring here in DC, the perfect weather for planning and strategy (not so great for outdoor shoots). And post-NAB Show, it’s a great time to re-assess workflows, consider new technologies, and tidy up that digital media library.

So what key steps do you need for great video storytelling? It all comes down to Three Essential Questions you need to ask yourself when planning your edit.

Wait, you say. planning my edit? What about my script? My shoot? But let’s face it, the story all comes together during the edit. And when is the optimal time to start planning your edit? Is it a few days before you step into the edit suite? Is it when you start digitizing your media? Not surprisingly, the answer is well before you even shoot the first frame. Working in the digital media space now often means drinking from the firehose of assets–millions of frames to choose from as we acquire with more and more flexible cameras. So it’s even more vital to be prepared before you start working with all of that content. Ask and answer these questions before you shoot, and you’ll be ahead of the game for your edit:

  1. What tools can I use in the field to help my edit go more smoothly? (Tip: any tool that allows you to identify best takes and best soundbites–use Adobe Live Logger, paper notes, or Google docs with notations on your script. And don’t forget to metatag camera footage with more than just date and time–for example camera operator initials or some code that tells you where this footage fits into the story line)
  2. What workflow can I use to ensure that the media gets transferred accurately? (Tip: use the 3-2-1 backup system–make two additional on-site copies of digital media files so that you have 3 in the field, travelling back from the shoot have 2 identical copies (and the one original stays behind). When you get back, ingest one of your two copies and check for accuracy before blowing away the original field cards. And yes, it costs a few more dollars to have extra cards–which is way less than a re-shoot and lost time will cost you!)
  3. What other assets can I collect before or during my shoot to augment my edit? Think about field sound clips, archival photos and other visuals. (Tip: always collect as much as you can in the field–I’ve even brought a mini-scanner on site and scanned old photos after conducting an interview.)

Every ounce of planning will deliver impact on screen. Go for it!

Amy DeLouise is a producer-director, speaker and author. Her new book The Producer’s Playbook: Real People on Camera (Focal Press) is available here at a 20% discount for blog readers! Use Code FLR40 at checkout!

7 Things Freelance Creatives Need Right Now

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As frBlue Glass c B. DeLouiseeelancers in the creative disciplines—graphic design, video, set design, etc.—we’ve got a lot on our plates. Every day we’ve got to be, well, creative out-of-the-box thinkers, able to leap small budgets in a single bound, staying on the bleeding edge of trends, and up on the latest hardware, software and teams that make it all possible. Plus we’ve got to run our businesses, paying our bills, invoicing our clients, and thinking strategically about our careers and where we want to go next. It’s a tall order.  Here are some ways we can break it down and get it done.

  1. Energize Your Creative Self. Take on a project outside your usual comfort zone. This might be a pro bono passion project (see #7 below). Or it could be a totally new approach to work with a regular client. Push your limits and create something you wouldn’t typically do.  Or check out work by others to inspire you. For example, this week I’m in New York City where it’s Design Week http://nycxdesign.com/ with all kinds of wonderful gallery and design-focused events.
  2. Connect to Creative Communities. Lots of independents get so busy with projects and life that we fail to make time for human connections. It’s too late to attend a networking event when you need the work. So get out and go to conferences, coffees and meet-ups. Get to know people in real life, not just in online communities. Real relationships are important, not just for business, but for our mental health as solo practitioners. Join a group like the aiga.org or www.wifv.org, www.aicp.com or www.asmp.org . If you are just getting started in your industry, many groups have a “junior” category with lower dues.
  3. Keep Learning. Take an online class. Attend a workshop. Read books and articles. Learn not just about the tools of your particular trade, but the fields that connect to your work. As a filmmaker, when I learn more about audio mixing, I’m going to do a better job directing field audio on my next shoot. As a filmmaker who’s been in the business for…ahem…awhile, I especially need to keep pushing myself to expand my horizons. It’s one reason I teach classes on lynda.com –to teach something you have to be sure you are up on the latest and greatest.
  4. Share. The corollary to learning is sharing. Share with your online communities. Share with your professional association. Share with a mentee. One of my favorite creative directors always has something interesting to share through his twitter stream. I’m much more likely to want to work with someone I can learn from.
  5. Give Back. Volunteer for the organization you join related to item #2. Or volunteer to speak on Career Day at your local school. Or mentor someone coming along in your business. Whatever you give, you will get back a thousand fold. I know it’s cliché, but it’s true!
  6. Get Tools. I see so many creative stuck in workflow of tools past. Don’t. So you used to edit on AVID but now you need to learn Adobe. I’m super-comfortable designing content to shoot with a C-series camera or FS-7, but now I’m pushing myself to develop storytelling that can leverage the power of 360 VR like this.
  7. Charge Appropriate Rates. I have left this one for last. Let’s face it, we creatives hate dealing with money. It’s not why we got into this work. Despite flat wages and the constant dilution of our various industries, we need to support one another by charging a living wage. When I see someone posting on a professional list-serve that they are looking to hire (fill in the blank creative position) at (half the standard industry day rate), I want to shout “doooon’t do it!” to all respondees. Sure, if you’re new to the biz and building your portfolio, you can discount your rate. But don’t go too far. For one thing, people tend to value your work by the value you assign to it yourself. For another, we’re all in this together.

 

Amy DeLouise is a video director-producer and author, and occasionally an industry speaker.

 

#GalsNGear Rocks #NABShow

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From Las Vegas, NV NAB Show 2016 –

I’m just back from NAB Show where I was privileged to co-host #GalsNGear Live! by Women in Film and Video (WIFV-DC) with Adryenn Ashley of Crowded TV to help showcase the amazing women working in production and post-production in broadcast, feature films, docs, commercials, branded content and more. Live-streamed by Broadcast Beat, we featured Megan Donnelly, DP and Camera Technology Specialist with AbelCine; Rose Fadem-Johnston, DP,  Luisa Cassasnovas Winters, Drone Operator/Adobe/Apple Certified Trainer; an iZotope demo by Cheryl Ottenritter, Senior Mixer/Founder, Ott House Audio; Katie Hinsen, Senior Finishing Artist, Light Iron (on TWO  Oscar-winning teams!) who is also a founder of the Blue Collar Post Collective; and Jillian Arnold, Video Engineer, Local 695; Lucy Seaborne did a demo for us at the Snell Advanced Media booth, and Christine Steele of Steele Pictures also conducted #GalsNGear interviews with Victoria Nece, Adobe After Effects and Alissa Johnson, Adobe Anywhere as well as Stefanie Mullen, the impressive woman behind the effects of Rampant Design. Christine also took time to make us an animated logo bumper. What an impressive crowd!

Terrific GNG graphics for our signage, logo and buttons were created by Deborah Humphries of True Color Chrome.

Shout-out to our amazing sponsors, including our lead sponsors Black Magic Design and Media Central! We had more than 100 people watch the show live, and thousands more watched online.  Sponsors gave us more than $4,500 in giveaways–everything from cameras to graphics packages to audio software and tickets to creative conferences. Let’s do this again at another industry event! How about Cinegear, IBC, Sundance, Cannes?? Let us know what you think!

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Five Reasons You Should Learn Online

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While I’m out at NAB Show, I thought I’d share a guest post by Matt Barker, a self-described tech geek, filmmaker and entrepreneur. He is a co-founder of getfilming.com, where he manages the online course production and the filmmaking community.

By Matt Barker

As the owner of an online start up, I spend a lot of time online. Some would even say I spend too much time online (my wife, mainly). I have to admit, staring at the screen all day long can become a little tedious but I wouldn’t change it for anything. I love what I do and I love how the tech and the internet has opened up a whole new world of possibilities. A particular favourite innovation that the online world has brought with it, is online education.

Gone are the days when you’d enrol for a course at your local college or university a year in advance and just wait for the learning to start. You can learn anything online from coding to filmmaking, from algebra to cake decorating and the best part is, you can learn from anywhere in the world, instantly and on your own schedule.

Lots of people reading this post will have enrolled in lots of courses online already. They would have learned a ton of information from expert tutors both on sites that house a plethora of courses like Skillshare or Udemy and from more specialist sites like Team Treehouse or GetFilming, an online Film School. I urge anyone and everyone to at least try online learning but if you still need some convincing, here’s five reasons why online education will help you succeed.

Expert tutors

Unlike traditional learning, when you enrol in an online course you get to choose who you want to learn from. There’s such a huge demand for online courses that there is an endless supply of new tutors, courses and schools opening every day. What this means is that working industry experts are realising that they can make a lot of money selling their knowledge. In some cases, they can make more teaching a subject online than they can make practising it in their day job – but this also means there is a lot of competition. To make decent money from teaching online, they have to produce a complete course for a specific topic that is better than any other course online. Having experts compete with each other to provide amazing education for us, is a great thing.

On Demand

Netflix and other streaming services introduced us to the world of on demand video. We’ve been spoilt and now everyone wants everything yesterday. Fortunately, it means if you decide you want to learn any topic, you will be able to find a course straight away and start learning instantly. If you’re thinking of a career change you can find a relevant eLearning site that caters for your topic and find out if that career is for you in a few days. How many people have spent years in education only to realise they don’t actually like the career they have invested so much time in?

Community of Learners

When you learn online, you don’t just get an expert tutor teaching you what they know. You have a whole community of people learning with you. This is great for motivation, for help if you get stuck, to find recommendations on other courses and it’s also great for networking. That all important element of any career path. It’s all about who you know and by learning online, you instantly connect with a community of people studying the same topic and who knows, maybe that person who helped you with your course can also be the person to give you your big break.

Evolving Courses

The real beauty of learning online is that the curriculum isn’t static. Let’s take creating websites as an example. If you go to college to learn how to code a website, chances are that by the time you finish your course, the technology you have learnt will be outdated. With online courses, it is not just important but necessary for the tutors to keep the content up to date. Any new technology that replaces old technology will be updated in the course to reflect the changes, almost in real time.

Something for Everyone!

The more you look into online education, the more you will find courses in topics you didn’t even know existed. Every single person can find a course that suits them to either learn a new hobby or to completely change their careers. Some eLearning platforms like Skillshare try to cater for every taste (and they do a very good job). Skillshare is more for the casual learner, someone who perhaps wants to develop their skills or make themselves more attractive to their boss. There are subscription learning portals such as Lynda.com, which started out as a platform for office software learning, but has rapidly expanded with hundreds of courses on Photography, Video Production and more. Then there are sites like GetFilming, which is an online film school and community. They specialise in teaching you everything you need to know to pursue your dream career as a filmmaker, whether that’s as a director, screenwriter, VFX artist or any other job in the Film and TV industry.

Conclusion

There are many reasons to want to learn something new. Personal development is a privilege we now have at our fingertips, so I say let’s take full advantage of it. Traditional education for years has been an exceptional way to teach and to learn, there’s no denying that. But if you are thinking of learning a new topic, I would highly recommend looking into online learning.

 

Eating Well at #NABShow

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Every April, 103,000 of my colleagues in media and I descend on Las Vegas for the National Association of Broadcasters Convention. Here are some of the out of the way eateries I’ve discovered over the years. Please add more! See you in Vegas!

1. Lotus oCaesars Palace ADf Siam. Excellent, authentic, and seriously spicy–Thai cuisine. Try the spicy prawns or the sea bass in any of the three sauces–I’ve had the ginger sauce with mushrooms and it was divine.

2. Kaizon Fusion Roll. Asia fusion with interesting (and gigantic) sushi roll combinations in a low-key, hip bar atmosphere. Just across street from Hard Rock Casino, but not nearly as pricey as their famous sushi spot.

3. Lindo Michoacan. A local Mexican 3-restaurant chain well regarded, including by my local friend whose wife hails from Mexico.

4. Sen of Japan gets rave reviews and is more authentic Japanese, for purists.

5. Pamplemousse. Locals go here for special occasion, reasonably authentic French fare. Haven’t tried it myself, so give me your feedback.

6. Echo and Rig Pick out your cut of steak, then have it grilled up at the restaurant next door. Talk about “on-demand” dining!

7. Piero’s. A Las Vegas institution and close to the Convention Center where we’re all living for this conference. Dinner only.

8. The only Vegas eatery on the strip that makes my list is Beijing Noodle No.9 at Caesar’s. Try the Soup Dumplings–the soup is actually IN the dumplings, not the other way around!–and a bowl of Lanzhou noodle soup.

Amy DeLouise is a writer/producer/author speaking all week at NABShow–the National Association of Broadcasters convention–in Las Vegas. Her Post/Production World classes are listed here  http://bit.ly/ADatNAB16. Please stop by!

Where’s Amy DeLouise at #NABShow16 ?

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DeLouise teaching at NAB

I love speaking at NAB Show!

I’m looking forward to seeing old friends and meeting loads of interesting people at #NABShow in Las Vegas this year! If you’re trying to track me down, here are a few of my plans:

Saturday, April 16th

After a business breakfast, I’ll be off to get my credentials, to see how our #GalsNGear event buttons turned out (12,000 of them at registration desks!) and be sure our T-shirts got delivered to the store. Yes, guys are invited, too. See details under Tuesday below. Then for the afternoon I’m speaking at Post|Production World on Knocking it Out of the Park as a #SetPA an In-Depth Session on Essential Business Skills for the Freelancer. Then it’s off to an annual get-together convened by the ever-amazing editor Nicole Haddock.

Sunday, April 17th

I’ve got an early launch to speak at 8:30AM on Stress-Free Productions: Managing Clients and Executive Producers.   Then I’ve got a little gap, so if you want to grab coffee or an early lunch (love the little Indian place in South Hall) that would be great! Then it’s off to speak all afternoon at PPW: Career Transitions for CreativesSo You Want to Produce. Then it’s off to some private parties and one of my favorite Vegas shows, Jersey Boys.

Monday, April 18th

This day is gonna be fun but tiring. I’ll be speaking with @Adryenn and @RodHarlan in an All-Day Social Media Symposium ! Then it’s off to moderate a panel on a subject that’s important to me Creating Inclusive Work Environments with Douglas Spotted Eagle, Gayle Hurd of the National Association of Black Journalists, Sarah Serrano of Veterans in Film and Television.  Then it’s off to Media Motion Ball!

Tuesday, April 19th

This is gonna be quite a day. I hope you can join me in the morning for some coffee and donuts provided by Black Magic Design at the first #GalsNGear pop-up event, livestreamed by Broadcast Beat. Then I’m off to speak at PPW again: Budgeting Basics for Video, Putting Real People on Camera — a topic so dear to my heart I wrote a book about it! I’ll head over to the NAB Bookstore for a book-signing (please stop by! invite friends!) for The Producer’s Playbook: Real People on Camera. Folks in my classes will get special DISCOUNT passes during NAB Show! Then I’ll head back to North Hall to moderate a panel on Breaking Into the Industry with Christine Steele, Katrina Deleon of Production HUB, Ashley Kennedy of Lynda, Paul Murphy and DP Joseph DiBlasi. Boy will that be an interesting conversation!  If I haven’t lost my voice yet, then I’ll see you over at Supermeet or maybe the Killer Tracks party.

Wednesday, April 20th

My day starts with being a guest on NAB Show Live! with host Janet West tackling gender balance and #womeninfilm with some terrific colleagues I’m looking forward to meeting. Then, hmmm, should I head over to the show floor or take some chill time at the pool? Perhaps a bit of both. I’ll catch up with some Lynda.com friends and colleagues Wednesday for cocktails, then I’ll be headed to dinner. (Any great ideas? I do promise to repost my off-strip Vegas restaurant favs blog post, but always looking for more out of the mainstream rec’s.) I don’t head out until late morning Thursday, so it could be a late night!

I look forward to connecting with you in Las Vegas or at another content event this year!

 

Amy DeLouise is a Director/Producer/Author and Speaker at NAB Show among other industry events. Her new book The Producer’s Playbook: Real People on Camera is out tjhis week from Focal Press.

 

 

Video: Direct-to-Camera with “Real People”

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AmydirectsIt happens more often than we’d all like to admit that inexperienced speakers are selected to deliver important information directly to the camera. Whether they are the head of a department, the leader of an initiative, an enthusiastic volunteer, or the child of the executive producer, this person might not be all that comfortable with a teleprompter, or might not work with cameras and crews every day the way professionals do. That doesn’t mean you can’t direct a confident delivery.  But your approach will need to differ from how you’d work with an actor or an experienced on-camera speaker.

I Need to Direct My Boss on Camera, Now What?!

One strategy for encouraging a natural delivery from your speaker is to do a quick Q&A with them off-camera first. I often stand farther away than is truly necessary, and lean forward. This is to encourage a slightly louder speaking voice from the talent. It forces us both to connect on purpose, not simply by default.  It’s surprising how often this Q&A approach works quite nicely, and feels natural.

Another strategy is to suggest in advance of your shoot day that the “host” practices a bit by recording themselves with their phone. Even though I have spoken before rooms with hundreds of people, before I taped my first Lynda.com course, I did the same thing. Speaking to a lens is vastly different than talking to people who react in real time. The first thing that struck me about my pre-recording was I didn’t smile enough. Even thinking about smiling helps the delivery seem more natural and congenial.

What About a Teleprompter?

Most folks aren’t aware of how much skill goes into reading from a teleprompter. Some people also do better with bullet points, rather than full copy. If you intend to use a prompter, you will need to add 30 minutes to your recording time for several rehearsals, to let the person get used to reading the words naturally. Most people trip up on one major issue: that the prompter follows them, not the other way around. They will get progressively slower as they read, waiting for the prompter to “catch up” when the prompter is actually following their speed. You’ll also need to add some big gaps to force people to slow down their read.

How to Work with Kids for Direct-to-Camera Videos

Kids are naturals. Don’t over-coach them. Do give them examples in advance from kids’ shows they like to watch.   Remember that audition pre-interview? Ask a few questions about shows they like, so you can reference them just before and during the shoot. Encourage kids to practice with their i-things at home. But the best thing you can do with kids is be a supportive cheerleader.  Use the same tools for keeping parents out of sightlines that you use with other gatekeepers: give them their own monitor, preferably out of the room. But check in periodically to be sure they’re happy.  Because a happy parent will be a great ally for you as you create a positive experience with your production team

This blog post is excerpted from my new book The Producer’s Playbook: Real People on Camera (Focal Press/Routledge). Purchase the book here Buy Real People on Camera. Or if you are coming to #NAB16 please stop by my Post|Production World session on getting the best with real people on camera – info Amy at NABShow on Real People.

 

Branding Tips for Creative Freelancers

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The brand word gets thrown around too much. What does it actually mean when you’re a freelancer in creative work? If you’re a photographer, art director, graphic designer, video producer or editor, how do you establish your brand versus that of other folks who use the same tools you do and have similar skills?

Why You Think People Hire You

Most freelancers promote themselves with the skills they think people are looking for. Their websites show software mastered and lists of equipment owned. That’s fine. But this is just the basics. Loads of your competitors have these skills. What clients want to know is what PROBLEMS you can solve for them. So to properly brand and sell yourself, you need to consider what sets you apart.

Why People Actually Hire You

When pitching yourself, describe the personal attributes and abilities that make you a good problem-solver. It might be your positive attitude, your communications skills, your ability to work with challenging personalities, or your ability to lead a team. This is your unique brand value, and that’s what you need to be promoting!

What About My Portfolio?

More and more, prospective clients want me to show them a video that is pretty much like what they want to hire me to produce. This is a tricky problem. I’d love to show them my skills as a director and concept creator for a wide range of productions. But they might not understand how a 5-minute video about a hospital is relevant to their 1-minute opener for a corporate event. So I post custom links to Vimeo–sometimes even password protected–so they can see just the  projects that connect to the problem they want to solve. And I sometimes have to generate a set of brief storyboards to convey my concept for their project. More on that in a future post!

For more about branding, follow my tweets @brandbuzz or join me at NABShow where I’ll be speaking about Essential Business Skills for Freelancers at Post/ProductionWorldatNAB

Freelancer Tips Amy DeLouise

 

 

 

 

Music Tells Your Video Story, Too

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ADMAR 2013

Hey, here I am playing a  violin solo in concert!

Most people focus on visuals when working on video storytelling. It’s a natural instinct. Our world is dominated by visuals-rich social media like SnapChat, Instagram, Facebook and Twitter and more. But the audio track for your video is a critical part of your storytelling toolkit.  There are two options for music for video: original scoring and licensed stock music.

Original Music Scoring

A professionally composed score-to-picture, which usually includes at least one set of revisions, will run you a minimum of $2,500-3,500 for a 30-second spot, at least $3,500 for a 5 minute video, and upwards of $8,000 for a half-hour documentary. Name-brand musicians can cost you much more.  Fees for session musicians (a band or orchestra) are extra.  And don’t think about using your friend who plays an instrument–session players are pros who read every type of music imaginable and have perfect intonation on the first take. Many composers can do without live musicians for smaller-budget projects by using good quality sampled sounds. And most composers will negotiate on fee based on how busy they are right now, how quickly they think they can do your project, or simply because you are offering an interesting challenge or a distribution exposure that interests them.

Before you give up on an original score because of cost, remember that this music works PERFECTLY with every visual on screen and creates EXACTLY the kinds of moods and transitions you need from scene to scene. Trying to find stock music that fits the bill requires hours of your time to audition tracks, and then more hours of editing time to mesh them together and finesse endings that are usually not right for your visuals. So for many projects, an original score is well worth it.

What’s the Original Score Workflow?

  1. Cut Scenes to “Temp Tracks”. This means finding music–even pop songs you can’t license, since you are going to replace them–that are the right tempo and mood to edit your scenes. I might use three or four temp tracks in any given short form project. Or nine or 10 for a half-hour show. This would be a mess to edit, but we will simply replace all of these with our custom score (a process called “laying back”) once the original music score is finished.
  2. Get “Picture Lock”. Before you can score, you need a 100% approved video, with all the images and voices and “sound-ups” (where you hear what someone is saying during a piece of background footage) in fixed locations in your video timeline. Any slippage by even a few frames will mean adjusting the score with the composer.
  3. Output Video to Composer’s Specs. Most composers want a video file that has a visible time-code window, so they can be sure they are achieving perfect synchronicity with your show. Depending on the type of software they use, a composer will request a particular type of video file they like to work with.
  4. Talk! You’ll want to discuss with your composer what goals you are trying to achieve with your film or spot, and what different moods you want to create with various scenes. If I have a particular genre or style of instrumentation that I want, I will also share temp tracks as examples.

An experienced composer may be able to write your music to picture for a very short film in a single day. Depending on how I’ve negotiated the fee, we’ll usually go through at least one round of tweaks before we get to a final score and go to lay back.

Using Stock Music

There are many online sources for good stock music, which can range in cost from $35 per cut to $500 per cut, depending on the source and the kind of distribution license you need. Be careful to purchase a license for online distribution, even if you have other ways of getting your video out, because YouTube now regularly pulls down videos for lacking the proper music license.

Premium music libraries that offer better-sounding orchestrations, a wide range of musical styles, and different lengths and underscore versions of tracks include www.apmmusic.com www.killertracks.com and www.audionetwork.com . A great feature of  Audio Network for me as a musician is that they list the key the music is in. That allows me to search for a related key for a transition from one piece to another, rather than having an ugly transition between two keys that don’t sound good together, or are identical. There are also lower-cost libraries such as www.premiumbeat.com and www.audiojungle.net which have plenty of great tracks to choose from. My only issue with their music is that the mixes are often muddy and require additional audio adjustment work in a sound studio if you plan to use them in a large room for live event playback.

Why Music Matters

Whether you go with stock music or scored music, you need to create the right mood for your message. I recently had a client send me a series of cute kid testimonials in a series of promo videos that they had shot. Something in the rough-cuts of these video just wasn’t working. They wanted me to help re-arrange the soundbites for a more compelling story. But the first thing I did was send them the same cuts but with new soundtracks for each. Presto! You see, their corporate music track was completely undermining the quirky, real-world comments of the kids. With just a little bit of re-tooling, I had a much happier client, and a better video story.

Amy DeLouise is a video director/producer who is passionate about great music. Her new book The Producer’s Playbook: Real People on Camera comes out this spring (Focal Press/Routledge).

 

Photos: Five Tricks for Keeping Track

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labyrinth copyright B.DeLouiseThanks to digital photography, organizations now have millions of photos to use in their promotions, websites and videos. But a photo is only useful if you can find it! As a video producer, I’m often fishing through massive files of photos labeled IMG1024 etc., trying to find just the right shot. Here’s a way to avoid that hassle and expense:

  1. Assign a Photo Guru. Even if multiple departments use and shoot photos, make one person responsible for your photo management system, and your tagging process. This person should create a cheat sheet for item 3 below.
  2. What Gets Measured Gets Done. Set a target for each quarter tied to institutional goals. Metrics might include not simply the number of photos to labeled and archived but how you are making them accessible to multiple departments/users/members/donors and how often they are getting reposted and linked back to primary content.
  3. Use Metatags. When an event is over, ingest all media cards and batch rename the files (while checking the box for retaining old metatag info) with the name and date of your event. If you hire professional photographers, give them the names you want to assign to each event or each day of a multi-day event. Your tagging work is not complete, but at least you have a good start. Most photo archiving systems will allow you to add other information such as who is featured in the photo and other keywords.
  4. Be Clear and Consistent. Don’t label your Los Angeles Gala photos “LAG” one year and “LA Gala” the next. In five years, no one will be able to find the LAG photos.
  5. What’s Old is New Again. From #TBT posts on social media to anniversary videos to website timelines, old photos get new life. Organizations that have been around since before digital will need to scan (at 200dpi minimum) old photos so that they can be re-purposed for web, social media, video, print and live event uses. This is a great job for a summer intern! But the intern will need to speak with the Photo Guru, above, so s/he understand key categories, institutional themes. Provide a handy photo “crib sheet” of important people for reference.

 

Amy DeLouise is a video producer/director who often finds herself slogging through unlabeled photo archives in search of the perfect shot!