Many state and federal communication laws define your freedom and responsibility as a video producer. If you plan to work in media, you must learn more about the civil and criminal laws which define your rights and obligations. There are books, magazine articles and Internet sites which have the essential information you need to stay out of legal trouble.
Here are some general areas that can get a video producer in legal trouble. Ignorance of the law is not a good excuse if you find yourself at the defendant's end of a law suit. If you plan to perform your creative efforts in public, you must know what is legally acceptable and what isn't so you can make informed decisions about the content and style of your video efforts.
Libel: Hold someone up to public ridicule, question their character or falsely accuse them of wrong doing and you face a potential libel suit. While truth is the best defense in a libel action, it will not stop others from suing you and costing you money in legal defense fees. If you have any doubt about what you are saying or showing about someone, check with a communications lawyer.If you are employed by a TV station or video production company, you can be sued as an individual for your actions. So be careful.
Right to Privacy: The First Amendment to the US Constitution defines your rights to make and use electronic images of people and events. In general, you have the right to videotape any event or person in a public place such as a park, the public streets or any other space that is not private property or for which no admission is charged. You don't need permission to shoot and use footage of people or events in public if the footage is not used as part of a TV commercial and the people are not recognizable. Privacy laws are different in every state. In California, for example, you need permission to shoot at private locations, K-12 schools, hospitals, and prisons, even if you are a working news reporter. To avoid potential suits, get signed releases medical patients, prison inmates, minor children, etc.. who can be recognized in your video. If they can be identified, they may sue you for invasion of privacy.
Copyright Law: You can be sued if you use copyright material without the copyright owner's permission. This includes film/video footage, photographs, graphics, written material and music. The law only applies to use of copyright material in public display including broadcasting. You can legally use copyright material for private, non-commercial use like home screenings or class projects as long as they aren't entered in contests or festivals. Copyright law is complicated when applied to recorded music. Broadcast radio and TV stations pay broadcast rights fees to use records or CD's as part of their format with additional fees for use in commercials.
Music: Get permission to use protected music in commercial productions. This includes public domain music such as classical compositions, folk tunes, nursery rhymes. if the performance, itself, has been registered with the Federal Copyright Office. There is video production music that is cheap and includes all rights. It music can be purchased from a variety of music production sources. This custom composed and produced music is designed specifically for video/audio applications. The cost is $45-$75 for up to 20 selections of varying lengths on a CD or CD-ROM. This music can be used repeatedly for any purpose without additional cost or legal clearances. Production music sources are listed in the want ads of video production trade magazine like A/V Video, Post, Presentations, Broadcasting, Advertising Age. Videomaker magazine and its website also lists production music suppliers. You can find many music production "houses" on the internet.
Images: Copyright protection includes any still or moving image that its creator legally registered. Even though VCR, computer, and scanning technology makes it easy to copy and manipulate visual information, do not be tempted to use images others have created if you intend to sell or distribute your video efforts. There are many sources of stock still and video images you can buy. You will pay based how you are going to use the visual material. Just as there are producers of production music, so too are there companies which sell rights to thousands of hours of film and video images as well as millions of still pictures. You can find these companies in the same video production trade magazines which list music producers and suppliers. You will also find many of these firms have Internet web sites.
Copyrighting Your Work: You can easily protect your video productions by including a "Notice of Copyright" in the program credits. The statement must include the phrase "Copyright," the year of production, and the name of the copyright holder. But remember, just because you have the right to copyright protection doesn't mean the government will go after someone who uses your work. It is left up to you to protect your creative property. You must be ever vigilant and ready to hire legal help if you wish to stop someone from taking what is legally yours.
Videos have taken over marketing in a big way today, and this is really just the start of the video revolution. YouTube and other video sharing sites are immensely popular. Facebook and Google both allow for video chat and Facebook encourages anyone to share video, either by posting a link or by updating their own.
Video marketing is going to get bigger and more important to people, their credibility, their business and their brand, no matter what their position is or what they are promoting. According to a forecast by Cisco Systems, published in the Los Angeles Times, the number of online video consumers will double to 1.5 billion by 2015, with total online video consumption predicted to quadruple. If marketers need to reach an audience, especially in large number and via online methods, then video marketing is the right marketing campaign to adopt.
Videos are engaging. Any form of communication can be used, but when people consider the effectiveness of the medium, they better to choose wisely. The world’s preferences are moving over from text and audio to video, to the point where marketers may be at a disadvantage if they are NOT using video today. Now, the majority of people enjoy watching videos, as they are more interesting and engaging than reading, and thus more effective for experts to use for promotion.
Many people enjoy watching videos. Why is that the case? Most people, especially in developed nations, grew up with a television around in one form or another; in fact, many of them were probably huge TV fans (and some currently are still) at one point in our lives. The pure entertainment value made it so addicting (and for a while, it was green pastures for television advertisers). Although many of them may no longer be tied to the TV set, which perhaps has been replaced by our computers, laptops and mobile devices, video is still present in these newer mediums. The key thing about video is that it can involve several senses at the same time, from visual to auditory, to sense memory. A well made video can have a person salivating for pizza as well, or excited at the though of meeting someone new. If someone has an imagination, then video producers can influence on how they think and feel. And they love it.
Video will increase a marketer’s brand and credibility. It is quite clear that, person-to-person, face-to-face communication is one of the best ways to get one’s message across to another. But what if they can’t meet the other, perhaps because of geographical location or time? If they are using a well planned video on their website, they’ll be able to connect with their audience, 24 hours a day, 365 days a year almost as if they were there! The best example of this is to look up Anthony Robbins on YouTube and you’ll find that he is a master of making that one-on-one conversation with you through the computer screen. It’s only when people know, like and trust you, after they have connected with you, do they buy from you or promote your cause. Videos help increase reach and grow brand image, even when the marketer isn’t physically there.
The writing is on the wall, video marketing is the future of marketing online. From experts who are just starting out to veteran internet marketers who are launching their next and greatest product, using video marketing to promote yourself will give you a boost to your business. Start adapting a solid video marketing strategy, today!
Yesterday, Adobe updated the new Premiere Pro CC and Prelude CC with some new features. You should check it out for yourself.
- Duplicating a title in a sequence creates a new, unique title, which can be independently edited from the original.
- Lift and Extract can be used when only an In or Out point is set (if only an In is set, Lift/Extract will use the end of the sequence as the Out point; if only an Out is set, the beginning of the sequence will be used for the In point).
- Copy, Cut, and Clear commands work between In and Out points on targeted tracks when no clips are selected.
- When a sequence is loaded in the Source Monitor, keyboard shortcuts can be used to navigate to edit points (Up/Down keys by default).
- Keyboard shortcuts can be used to clear In/Out points on clips in the Project Panel.
- The Enable Clip command now works as a toggle when multiple clips are selected, such that any disabled clips become enabled and vice versa.
- The Match Frame command will prioritize a selected clip over a targeted track.
- The Relink command can now be used on a sequence containing offline media.
- The Export EDL dialog now contains the option to include or exclude Transitions and the Key Track.
- The Reveal In Project command now works from the Source Monitor.
- A preference has been added to select whether or not playback jumps to the beginning of the Timeline or a Clip once the end has been reached.
- A button has been added to the Timeline Panel to globally Link or Unlink all clips in the sequence.
- An assignable keyboard shortcut has been added to enable toggling between the Source and Program Monitors.
- The Reveal In Finder command can now be used on clips in a sequence.
- A default start timecode value for all new sequences can be set in the Timeline panel.
- Clips can now be dragged from the Finder or Explorer directly into the Source Monitor.
- The Match Frame command now works on Nested or Multi-Camera Source Sequences, first matching to the source sequence, then stepping back further to the original master clip used in that source sequence.
- Offline audio clips are now displayed in red, matching offline video clips.
- The Source Settings dialog can be accessed by right-clicking on Clips within the Timeline Panel.
- A preference has been added to allow the Timeline Panel to be automatically focused after an Insert or Overwrite edit is performed.
- The Auto-Save dialog is suppressed during editing, and auto saves will not occur if no changes have been made to the project.
- The Tone Settings dialog allows users to set the amplitude and frequency of the Bars and Tone synthetic clip.
- Closed Captions are displayed on thumbnails in the Captions panel.
- Options have been added to the Automate To Sequence dialog for Still Clip Duration, giving control over whether still clips use the In/Out range or a specified number of frames per clip (for timelapse workflows).
Just arrived back in Milwaukee after spending a week in Los Angeles. This year I had the opportunity to attend Adobe Max which took place in downtown LA from the 4th - 8th of May. Most sessions were conducted at the Los Angeles Convention Center. This was the first time that I've attended Adobe Max and it was awesome!
On Saturday (05/05) my time for Adobe Max commenced. On both Saturday and Sunday, I participated in the Adobe Max pre-conference workshop; Adobe Premiere Pro for Experienced Editors, that was conducted by Abba Shapiro, master editor for Adobe and Apple. It was a privilege tackling down the new Adobe Premiere Pro CC (Creative Cloud) pre-release with a dozen other video/film editors from across the world. All the new Adobe CC apps will be available on June 17.
Monday was the general opening day of the conference. Around 5000+ attendees, including myself, joined Adobe CEO Shantanu Narayen, Adobe's SVP and GM of Digital Media, David Wadhwani, and a collection of Adobe visionaries across digital photography, illustration, video, web design, and more as we unveiled brand new creative workflows and capabilities. We took a look at endless possibilities in our creative future. Below, I have embedded a video by Adobe TV to provide you with a visual summary. You'll be able to see me say a few words too.
Throughout the rest of the conference I attended small group sessions and labs that were mostly related to video. Many of those labs and sessions discussed areas such as, using all the video tools in creative cloud, archiving, transcoding, visual effects, and 3D. A session I should mention is "Max Sneak Peaks." This was a session where a couple of Adobe's officials gave us a few peaks as to what they were working on, for the future updates.
Last but not least, to end things up, Adobe hosted the Max Bash. The event comprised delicious food and drinks, an awesome environment and spectacular entertainment. We even had a live performance by The Black Keys.
I had a valuable experience at Max 2013 and for all you creatives out there, I highly recommend that you attend the next Adobe Max.
We all try to make the most out of the gear we have, but every video producer hits points in their career where they become limited by their equipment. Anybody who does video seriously knows it can be an expensive venture, and that it takes time to acquire all the gear we want. The world of camera support equipment is vast and can range from relatively affordable to shockingly expensive. A good tripod is worth it's weight in gold and everyone should have a shoulder mount to get basic handheld shots, but eventually, you're going to want to get some more dynamic shots. When it comes time to plunk down some of your hard earned money on another piece of camera support gear, it's important to know what each piece of gear can and can't do.
Jibs or Cranes range from fairly compact to huge, but in essence they perform the same function. They give you the ability to add vertical movement to a shot. Of course the bigger the jib, the bigger the move can be. Panning with a long jib arm can also mimic a trucking move, but your shot will move along a defined curve, rather than a straight line. A large jib can also get you some nice high angle shots you wouldn't be able to achieve otherwise, and you can achieve some really artistic shots if you use it in conjunction with a robotic head. Jib or Crane shots are particularly effective when there are items in the foreground that show off the movement.
Cons: Jibs tend to be large, and while they are great at getting those sweeping grand shots or high angle shots, the can be cumbersome to setup.
Whether we're talking tabletop or full-on rail systems, dollies are designed to provide smooth rolling camera movement. A good dolly is fairly versatile when it comes to usage. Whether you're moving through a scene, following your talent or host, or just adding a bit of movement to an otherwise static interview, a dolly can add motion to many types of shots.
Cons: The degree of setup difficulty can range from minutes to hours depending on how level the shooting surface is. Track systems work well, but can be pricey, while tabletop dollies depend on smooth surfaces.
From simple handheld stabilizers to vest systems, floating stabilizers are designed to give you smooth shots while you walk, while maintaining the ability to control the side to side and up to down pivot. Great for following a moving subject, or walking through a scene with tight spaces or stairs, this can make handheld work look amazing.
Cons: If you've ever tried to operate a stabilizer for any length of time, your arms or your back have surely paid for it. The bigger the camera, the more it can tax the operator. A stabilizer is a great tool for the job, but may not be usable in a wide variety of situations.
Sliders are essentially a condensed, mountable version of a dolly on a track. They provide smooth movement along a straight path. One huge advantage is that they can mount to your tripod so rough and uneven ground is not an issue, and the setup time is consistently fast. Kessler even makes a great camera mount that allows you to use a slider vertically.
Cons: While sliders can be up to 6 feet, this is fairly limited when compared to the range that a jib or dolly can achieve. Also, while dolly tracks can be curved or straight, sliders are usually only straight.
Of course it's tempting to give the old, “it depends on what you're shooting” defense, but that hardly seems like it answers the question I posed in the title. I've done my best to list out the pros and cons, but the bottom line is this. I've been lucky enough to have a jib, dolly, slider, and floating stabilizer at my disposal for a number of years, and hands down, the one I've used far more than any other is the dolly. I just find that it has more uses than a jib or floating stabilizer, whether I'm shooting commercials, training videos, weddings, or narrative material. I could make the argument for a slider as well, in that it does perform many of the same functions, and being able to use it vertically is a huge plus. To be fair, the slider I have access to is under four feet without the vertical mount, so I might be persuaded to change my answer if I had the right setup.
Before you make any decisions, it's good to know what these tools can and can't do, and be prepared for the pitfalls that each one presents. If you're lucky enough to have some money burning a hole in your pocket that's earmarked for new gear, you'll be opening up new artistic possibilities regardless of which one you choose.
Since Baauer's "Harlem Shake" is being quite the talk these days, I decided to come up with a short film idea that incorporated the dance. I'll be introducing you to "Harlem Falcons Shake." This short film is about a president of a Christian university, who has a strange Harlem Shake dream during a short accidental power nap. Harlem Falcons Shake will premier March 11, 2013
This term has been pretty intense with MBA course work and production combined.
Just completed an International Marketing course. Got to research and digest some really cool material. Was also privileged to collaborate a project relating IKEA with a talented group of professionals.
On the other hand, I've been running up and down filming some music videos and promotional videos. One of the music videos had an entire session outdoors right here in cold Wisconsin. It was plenty of fun though!
In case you missed the Oscars, here is the list of who all were nominated and victorious.
- BEST PICTURE
- AmourMargaret Menegoz, Stefan Arndt, Veit Heiduschka and Michael Katz, ProducersView Trailer /More Information
ArgoGrant Heslov, Ben Affleck and George Clooney, ProducersView Trailer /More Information
- Beasts of the Southern WildDan Janvey, Josh Penn and Michael Gottwald, ProducersView Trailer /More Information
- Django UnchainedStacey Sher, Reginald Hudlin and Pilar Savone, ProducersView Trailer /More Information
- Les MisérablesTim Bevan, Eric Fellner, Debra Hayward and Cameron Mackintosh, ProducersView Trailer /More Information
- ACTRESS in a Leading Role
So I'm here in Miami. It has been great so far! The city is pumped for the big game between Notre Dame and Alabama...so is ESPN!