Video Hack: smallest tripod, smallest light stand

Sometimes we work in cramped places.  Back when I discovered this hack, practically no one was using suction cups in photography/video production.  In fact, the one you see here was designed for glass workers.  It can grip up to 70 pounds.  It cost roughly $50.  I most recently used it in Hurricane Images Biomonitoring CA video.  Beware of the cheapo units, check the weight rating, and look for one with an indicator that shows when it's losing suction.  Mine has a red line on the pump.

New Visions

This blog (in its on-again, off-again manner) has been many things.  Four years ago, it started as a chronicle of 100 days of photographic learning.  It morphed into a journal of my process of becoming a professional photographer/videographer with its "Going Pro" series.  (We've reached our 1 year anniversary as a company, in what is still a work in progress.)  With a more active Hurricane Images blog, which focuses on posts designed to help potential business clients, this humble highlight of blown images has become more difficult to focus on, and bring into focus.

Moving forward into year 2 of Hurricane Images and year 4 of this blog, my intention is to have this be a place for photographers and videographers: a home for tips, reviews (though I try to buy as little equipment as possible), and techniques and approaches for both hobbyists and professionals.  Let's see if we can move our craft forward.

So here's to the new year.

How to Evaluate A Video Proposal

You’ve committed to making a video, estimated the cost of your production, and posted a request for proposals.  Within the hour a handful appear in your Inbox… the question is... how to choose?  You may like the videos that the company produces, but you still need to know the cost.  The numbers seem... squishy.

Unfortunately, there’s no standard format for production proposals; quotes can come in different forms and formats.  All of them have strengths and weaknesses, but some are riskier than others.  A good video proposal should give you either a precise cost or a specific range of costs based on preferences you control, as well as information that describes the video in a way that's consistent with your vision. 

There are three main types of production proposals:

The first is  a Rate Card.  Rate cards provide the hourly rate for an activity, sometimes with an estimate of how long the activity will take.  Unfortunately, they’re often a poor estimate of the final cost, and they present the greatest financial risk to the client.  Worse, they can signal that the production company doesn’t stand by the quality of their work.  Not only are time overruns frequent on every project, but edits and changes based on your feedback will come at a price.  However, there are times when a rate proposal is the best choice. If both you and the vendor agree that there will be a lot of back and forth on the project, than an hourly rate may be the most reasonable approach.

In most cases, though, I recommend one of the two other proposal types.  For the skinny on these, jump on over to our main blog at Hurricane Images Inc. and read our guide to evaluating proposals. 

What Does a Corporate Video Cost?

What's it going to be? A Yugo or a Lexus?

This is the most pressing question most companies have when it comes to producing a video.  Frustratingly, that question is roughly the same as:  "What's it going to be? A Yugo or a Lexus?"

That's probably an overly judgmental comparison.  In truth, though, the car buying comparison is one you hear a lot when it comes to the question of "how much will this video cost?"  A not-so-practical friend says, "I've saved some money-- what kind of car should I get?"  The answer, of course, is impossible without knowing how much money they've saved.  And what kind of car they want.  A $500 beater may be exactly what they need; or a $50,000 Tesla might be the only car that suffices.

Even though you can't answer that oh-so-common question, there are six factors that go into the cost of your video.  The most predictable of which is the cost of filming.

#1:  Filming

Your  filming costs depends on two things: the number of days and the size of the crew.  If the production elements are well planned or coordinated in advance by you—or the shoot only involves one person on camera—you may well get away with a single videographer setting the lights, recording audio, and doing the camera work.  For a mid-range production, a one-person shoot will cost between $125-$200 an hour, or $500-$1,000 a day.  This includes all of your equipment costs.  As the shoot becomes more complicated, more crew is added to organize the day.  Each crew member will range from $350/day to $700/day for a corporate video shoot.  A mistake companies sometimes make is trying to estimate the number of hours by the amount of time they anticipate filming.  Not only are the filming hour usually underestimated, but the cost of prep, travel, setup, and break-down are typically forgotten.  Most shoots will include not just the main subject, but 2-4 hours of B-roll as well.

But filming may not be the biggest cost you face when you hire a production company.  Read up on the other five factors on our company blog, Hurricane Images Inc. Blog, as well as tips and tricks for reducing your costs and getting the best deal possible.

Making Powerful, Credible Testimonial Videos

Testimonials are one of the most powerful marketing tools available to businesses, but they're often lacking in the "trust" department.  Rather than appearing as an honest review, viewers too often see them as paid advertisements.  So how do you create video testimonials that are compelling and believable?  Over at Hurricane Images we've created three vital guidelines for creating your video.  Rule One?  Make the client real.  Give them time to tell their story-- for the audience to understand the obstacles they faced.  Then take it deeper.

How to prepare for being on camera-- beyond the outfit

Sitting down with a client last week I was asked a question I hadn't heard in a while.... It surprised me because it seemed based on an antiquated notion of technology.  And at the same time it made me realize that it was one of the most common questions I get-- even if it was only every couple of months.

What should I wear?

Well, concerns about "fine patterns and checkers" have disappeared with the advent of HD and 4K, but our expectations about what makes for a strong interview, presentation, or pitch has increased immensely.  Seeing people on camera is so common place, that we instantly recognize shortcomings... white shirts, haggard eyes, rambling sentences.  How to prepare for being on camera has evolved beyond what to wear. I've compiled a list of my best advice over at Hurricane Images Inc Blog.  Head over and check it out....

Going Pro: It's a wrap

Ian Robin Walker

Okay, clearly it's been a long time since I posted to this series, and the reason is largely about success.  While I do hope/plan/aspire to continue with the odd post on videography/photography business, product reviews, and technique, for now I'm putting a peg in this topic.  You can also check my other (even slower moving) blog at Hurricane Images Inc.  This is a client facing blog-- rather than this peer facing blog-- and there's a lot you can borrow from that.

I wrote that the end of this series is due to the success of my own process of turning pro.  I mean this in an "in progress" kind of way.  Since jettisoning my regular employment four months ago, I've been working continuously.  I've not consistently earned what I need each month-- I don't expect that to happen for another eight months-- but earnings have exceeded expectations this first trimester... even as turn-around times have proved painfully longer than expected.  My projects have included small jobs for big companies like BitDefender, Silicon Valley Air Experts, and The California Department of Public Health, and large jobs for small outfits like Davis Properties and Rocket Interview.  Balancing 45 hour work weeks with raising an infant (and keeping my sanity) has pushed writing projects like this to the side.

I started this post with a picture of yours truly, though, which is pretty unlike me.  Why?  It's a reminder that ultimately you  are your brand.  If you look at some of the most successful media producers out there-- from Philip Bloom to Casey Neistat to (one of my personal favorites) Brandon Li-- you realize how distinctive their personal style is.  Not just their artwork, but their personalities and how they put themselves forward.  Everyone, regardless of where they are in their career, should reevaluate their online presence and branding every six months.  This includes cleaning up the website, checking that you're still appearing on other sites and searches, and retooling your communications.  So if you're bored right now, get to it.