There’s a lot to making a great video… one that connect with an audience and drives them to action. Of course video can be both expensive and time consuming. In this session, web video expert Rich Harrington shares practical advice that won’t break the bank. He’ll share techniques his used for big brands like Apple, the American Red Cross, the Family Online Safety Institute and more. You’ll learn industry secrets like: What’s the right length to keep someone watching? How can you ensure your audio doesn’t suck? When should you use graphics to inform the viewer? How do the pros create messages that stick in the viewer’s brain? What role does music play in a successful video?

2. Creating Videos People Want to Watch
Practical advice and implementable techniques
Richard Harrington - RHED Pixel | www.RHEDPixel.com | www.RichardHarringtonBlog.com
twitter.com/ facebook.com/ youtube.com/
rhedpixel RichHarringtonStuff rhedpixeltv

3. Purpose of
Workshop
There’s a lot to making a great video… one that
connect with an audience and drives them to
action. Of course video can be both expensive
and time consuming.
In this session, web video expert Rich Harrington
shares practical advice that won’t break the bank.
He’ll share techniques his used for big brands like
Apple, the American Red Cross, the Family Online
Safety Institute and more.

4. Purpose of
Workshop
What’s the right length for your video to keep
someone watching?
How can you ensure your audio doesn’t suck?
When should you use screen and motion
graphics to inform the viewer?
How do the pros create messages that stick in
the viewer’s brain?
What role does music play in a successful video
project?

5. Richard Harrington
RHED Pixel (www.RHEDpixel.com)
Adobe Certified Expert & Trainer
Apple Certified Trainer
Avid Master Editor
Project Management Professional
Teach courses on digital media production and web
content
Personal blog – www.RichardHarringtonBlog.com
Social media – rhedpixel

11. RHED Pixel
Mobile Video Experience

12. Mobile Video Experience
Understanding Adobe Photoshop
Final Cut Help
Photoshop for Video
Secrets of Style with Kim Foley
Peachpit Press Author Tips
Tech on the Road
Google Web Toolkit
Photoshop CS4 Sneak Peek
Producing Video Podcasts

13. Mobile Video Experience
OnMicrosoft
OnNetworking
OnOpenSource
OnSecurity
OnSoftware
MacBreak Work
Inside Mac (consulting)
Photoshop User TV (consulting)
MommyCast (production)

16. The Internet in America
Just what’s going on online?

17. Internet Access is Everywhere
% With Internet Access From Any Location (12+)
100
88
83 85 84
81 81 82
75
75
72
62
50 55
50
25
0
1999 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011
http://www.edisonresearch.com/Infinite_Dial_2012.pdf

18. High-Speed Access at Home
% Who Have Broadband/Dial-Up Internet Access at Home
100
89
84 86
82
75 78 76
68 69
60 58
50
48 48
37 38
25 28 28
21 20
15 13
8 8
0
2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
Dial-Up Broadband http://www.edisonresearch.com/Infinite_Dial_2012.pdf

19. 112
Million

20. Online Video Watching
% Who Have Watched Online Video in Last Week
100%
75%
50%
43
25%
12
0%
2006 2012
http://www.edisonresearch.com/Infinite_Dial_2011.pdf

22. YouTube Video Watching
% Who Have Watched Internet Video Programming From YouTube
50%
45
41
38 37
38%
34
31
28
25% 23
21
14
13%
12
7
0%
Last Month Last Week
2007 2008 2009 2010 2011 2012 http://www.edisonresearch.com/Infinite_Dial_2011.pdf

23. Secret #1
Have a Concept

25. The Five W’s for Refining
a Show Concept
Who—Who is going to watch the show?
Who is going to host the show?
What—What topics will the show cover?
What genre or format will it use?
Where—Where will the show be recorded?
A studio? On location?
When—When will the show come out?
Daily? Weekly? Monthly?
Why—Why would a viewer subscribe?
Why would they come back?

27. Delivering Mobile Video
Production Frequency – How often are you
going to record new episodes?
Acquisition Size – We typically acquire shows
in 720p HD (a frame size of 1280x720) at 24
frames per second (the same as film).
Delivery Methods – You need to consider
your primary and secondary delivery methods.
Audience Capabilities – You need to make
some assumptions about your audience.

28. Analyze the Market
Who is your competition?
What makes your video different?
What can you do better?
Who do you want to attract?
What weaknesses does your competition show?
How can you take advantage of these?

29. Questions to Ask
Make-Up of Audience?
Connection Speeds?
Embedded into Page?
Downloadable?
Portable?
Protected?

30. Secret #2
Have a Plan

31. Delivering Mobile Video
Plan
Produce
Distribute
Promote
Monetize (optional)

32. Making a Plan
Site survey
Storyboard
Sketch
Camera
Shot list
Lighting diagrams

37. Budgeting Guidelines
Treat more like ENG style shoot
Consider spending money to save money
Multitalented crew & multi-cam productions
Hard disk recorders
Look to pack day/schedule
Maximize locations

38. Balancing Production
Carefully choose acquisition format
Select talent carefully
Keep it short
Rehearse during changeovers
Use shot list & keep shot ratio very low

39. Secret #3
Shoot with the Right Settings & Camera

44. What is HD?
Variety of competing standards
Means different things to different users
Several different formats
Lots of competing hardware & software
standards
Lots of confusion with consumers

45. The Many Flavors of HD Video
HD Frame Rates
Size Rates
23.976, 24, 29.97, or 30 fps progressive;
1920 x 1080
29.97 or 30 fps interlaced
23.976, 24, 29.97, 30,
1280 x 720
59.94, or 60 fps progressive

46. The Many Flavors of HD Video
HD Frame Sizes
Format Native Size
HD 720P 1280 X 720
HD1080i 1920 X 1080
HDV 1080i 1440 X 1080
DVCPRO HD 720P 960 X 720
DVCPRO HD 1080i 1280 X 1080

48. Frame Rate Options
60 fps (59.94 fps)
Common frame rate for 720p HD. Can be used for over-cranking.
30 fps (really 29.97 fps)
The most common frame rate for broadcast in the U.S.
25 fps
The common frame rate of video used in Europe and around the
world that use the PAL standard.
24 fps (23.98 fps)
A rate that closely matches that of film

49. Frame Rate Options
For footage that mimics film, a good choice is to
record 24 (23.98) fps
For footage that is going to be used for broadcast
30 (29.97) fps is a good choice (1920 x 1080)
If working with the Phase Alternating Line (PAL)
standard, you’ll use 25fps.
For footage shot 1280 x 720, then 60 (59.94) fps
is the best choice for broadcast in NTSC based
countries and 50 fps for PAL countries.

50. How to Determine Which
HD You Need to Use
Frame Size Requirements
Editing System and Post Production
Workflow
Tape & Camera Formats
End Usage Goals

51. Different Grades of HD
Consumer & Prosumer
AVCHD & HDV
DSLR
Professional
DVCPRO HD & XDCAM HD
Cinema
Redcode, HDCAM, & Genesis

56. Secret #4
Frame Your Shots

58. RULE OF THIRDS

59. 180˚ RULE

60. MATCHING SHOTS

61. WIDE SHOT

62. MEDIUM WIDE SHOT

63. MEDIUM SHOT

64. MEDIUM CLOSE UP

65. CLOSE UP

66. EXTREME CLOSE UP

67. POINT OF VIEW

68. MASTER SHOT

69. Shot Types
tinyurl.com/fs2mshots

70. The Visual Story
Bruce Block

71. Secret #5
Audio is Half the Picture

72. Audio is Key
Recording high-quality audio is essential.
When shooting video, people tend to spend
the entire effort focusing on the images and
leave little time or resources dedicated to
ensuring that good audio is recorded.
This is a mistake that many come to regret
once they start the editing process.

73. Audio is Key
Despite how good your video looks, in the end
if your audio is bad, the whole production will
come off as amateurish.
People can forgive bad video, but stop
watching when they cannot hear.
You will fail to retain the viewers you worked so
hard to attract.

74. Music Options
Do not steal music.
What you hear about fair use is not valid for
commercial ventures.
Visit copyright.gov to learn more.
Royalty-free music options are plenty.
CCMixter.org another good resource.

77. Sync Sound Workflow

78. Why Record Dual Sound?
Internal microphone quality
Automatic Gain Control
Difficulty in monitoring
Challenge to keep constant levels

79. Dual Sound Workflow
Use sync source
Record enhanced camera audio
Record “real” sound with professional
microphones plugged into a mixer
Record to file-based recorder
Synchronize in postproduction

88. PluralEyes
Place video on one track and
audio on another track
Files are synced based on sound,
no timecode required
Audio levels can be normalized
Huge timesaver
Red Giant software
Free tutorials at RedGiantTV

89. Secret #6
Prep Your Talent

91. Selecting and
Prepping Talent
Web video is fairly democratic in nature.
Web video audiences seem to prefer “regular”
people as opposed to “Barbie and Ken” dolls,
which often plague the traditional broadcasts.
The use of “nonprofessional” talent and hosts
is okay, but they still need to be prepared.

92. Selecting and
Prepping Talent
Selecting good talent for a web video is
perhaps the most important thing you can do.
You must find someone who can connect with
the target audience and deliver a message.
They must also keep the audience entertained
and interested in topic.

93. Casting Talent
If you can afford it, then you can hire
professional actors for your production.
You stand a better chance that your actors will
show up on time and know their lines.
You can use a casting agency in your area to
help recruit talent.
Agencies keep headshots of actors on hand.
They can also set up auditions and rehearsals.

94. Recruiting Talent
Most web video producers will find their talent
through recruitment.
You may call in favors.
You can make an announcement through the
sponsoring organization for people to appear
in supporting roles.
Others will also post ads to locations such as
Craigslist, Mandy, Production Hub, or Creative
COW to raise awareness.

95. Recruiting Talent
Be clear on the compensation. Don’t be
vague about what youwill or won’t pay. No one
likes their time wasted with vague promises.
Offer something of value in return. Give
something back to talent. It might be services
traded or copies of the final production.
Be clear on time commitment. Make sure
people know what they are committing to. Be
clear on how long you expect to need them.

96. On-Camera
Considerations
Bring at least one alternate set of clothing.
Herringbone, stripes, or small patterns do not
look good on camera.
Keep your jewelry simple.
Do not wear bright white. Cream, eggshell, or
a light gray is preferred.
Consider makeup. This is to help you look and
feel your best.

97. On-Camera
Considerations
Avoid enumeration or the phrase
“Like I said before.”
We may only use an excerpt.
Don’t be afraid to stop and start over.
If you would like a moment to gather your
thoughts, please take your time.
Relax, it will help you look and sound
your best.

100. Secret #7
Make Your Message Stick

101. Make Your Message Stick
Limit the number of points made in a video.
Three or less is a good target.
One primary message is the ideal.
Think about what you want the audience to
remember about the video.
How many times did you say the targeted
message?

102. Make Your Message Stick
Always have a call to action.
Tell the viewer what you want them to do next.
Never ask them to do more than two things.
Use an emotional appeal whenever possible.
Video is a medium that works best with clear
and simple messages that go for an emotional
reaction in the viewer.

103. Brand Throughout
Customers need consistency

111. Secret #8
Beautiful Video Comes From Lighting

112. Analyze the Room
Before you start adding light, determine what
you have to work with.
What is the quality of the light in the room to
begin with?
Walk around the space and identify the current
light sources in the room.
Always analyze the light that already exists in
your location. It is often a lot easier to work
with what you have than to try to fight it.

113. Analyze the Room
Are there any practical light sources like
lamps? Is the room plagued by mixed sources,
such as fluorescent lighting with large
windows?
You need to make is whether you want to
completely create your lighting approach from
scratch or if you want to augment the existing
sources.

114. Making ‘em Look Good
One important consideration when lighting is
getting the optimum quality of light on your
subject’s face.
The eyes are essential because they evoke all
expression. So when you’re lighting the face,
the eyes should be your starting point.

115. Key Light
The key is generally your most intense light
and is placed 15–45 degrees to the side of
your subject.
The purpose of the key is to wrap the face in
the quality of light based on the subject’s
features and the story you want to tell.
Using a broad, soft source of light like that
produced by a soft box or fluorescent fixture.

117. Fill Light
The fill is your secondary light and is generally
placed on the opposite side of the key.
Its purpose is to fill in the shadows cast by the
key light. To what degree you utilize your fill
light is a matter of taste.
Ideally, you’ll use a small lighting fixture or
bounce the light off a card or flat surface.
Often, you can use some reflected light off
your key to produce some fill.

119. Backlight
Backlight is the third element.
Its purpose is to highlight the edges of your
subject, separating it from the background,
which creates more of a 3D look.
The backlight is identical to the hair light you
might use in a portrait setup.
Placement of the backlight is usually behind
and above your subject.

123. Budget Lighting
Make It Good, Fast, and Cheap

128. Secret #9
Video is a Visual Medium

129. Relevant Visuals
Video based content should add to the
broadcast by delivering information that cannot
be relayed in an audio only format.

130. Develop for Portability
Shooting and editing must be designed
appropriately for intended purpose.
Superior audio for small speakers, content
designed for smaller window with lower frame
rates.

131. Develop for Portability
Content must be kept brief, engaging and to
the point.
If content is not intended to be viewed on a
portable device, larger frame sizes can be
used.

132. Leveraging Content
Existing content must be evaluated for web
delivery.
Can also be used as B-roll for newly developed
content.
Existing content can be re-edited into an
format for Podcast delivery.

133. Secret #10
Your Video Can Always Be Shorter

135. When it Comes to Video…
Keep it Short
I have never met a video that wouldn’t benefit
from some editing.
The whole purpose of video is to compress
time and distill a message to its essence.
It is important that you refine a project by
continuing to strip away its unneeded parts.

136. When it Comes to Video…
Keep it Short
Rarely have I heard an audience complain that
a video was too short.
There is a reason to edit and it becomes
increasingly clear when you actually watch
people as they watch your project.
Do your best to strip a project down to its
essence and only add what is needed.
When in doubt… cut it out.

138. Editing Advice

139. Editing Advice
Seek resolution independent NLE
Flexibility with frame sizes
Flexibility with frame rates
Synchronize frame rates early on
Consider repurposing content

140. Editing Advice
Exposure & Contrast
Color Balance
Audio Mix & Normalization
Interlacing and when it is removed
Run Time
Shot Composition

141. Secret #11
Learn About Video Compression

142. Compression is
a Science
Lots of technology at work
Cutting edge research
Digital Rights Management
Expensive Setup and Hosting

143. Compression is
Common Sense
Making copies
Get it out there
Fairly automated
Speed up postproduction & delivery

144. Architecture
Global family or classification of a file
Includes MPEG, Flash, QuickTime, Windows
Media, AIFF
The ‘big’ picture

145. Compressor/
Decompressor
Algorithm that allows for shrinking of the files
Some compressors cost additional money to
the content creator
Decompressors are usually free to improve
market share
Shrinking the file using mathematical
algorithms
Modern compression techniques are
significantly more effective

146. Bit Rate
How much data per second there is in your file
The higher the number, the larger the file
Larger usually means more quality, but codec
dependent

147. Sampling Rate
The number of samples captured per second
Audio CDs are 44.1 kHz
Digital Video is 48 kHz
Bigger is higher quality

148. Variable Bit Rate (VBR)
Compression
One of the most effective ways to create
smaller files
Computer analyzes the file before compressing
the data
Encoding this way is far slower
If you can, choose this method for superior
results

149. Batch Processing
A benefit of many compression utilities
Set up several files to run
Walk away and leave a computer working hard
Ensures consistency

150. Maximum video size
supported by each
iPhone 3G/3GS: 640x480
iPod Touch & iPhone 4: 960x640
iPhone 4GS: 1920 x 1080
iPad: 1024x768
Apple TV: 1280x720
Droid: 1280 x 720 | 1920 x 1080

151. More on Compression
http://www.apple.com/itunes/store/podcaststechspecs.html

153. Secret #12
Put Your Videos In Lots of Places

158. Video Sharing Websites
YouTube Howcast
Adobe TV Blip.tv
Revver Dailymotion
Vimeo Veoh
Google Facebook

160. YouTube

161. YouTube Statistics
48 hours of video are uploaded every
minute, resulting in nearly 8 years of
content uploaded every day
Over 3 billion videos are viewed a day
More video is uploaded to YouTube in
one month than the 3 major US
networks created in 60 years

162. YouTube Statistics
YouTube's demographic is broad:
18-54 years old
800M unique users visit each month
More HD content than any other online
video site
YouTube mobile gets over 400M views a
day, representing 13% of daily views

163. Vimeo

164. Vimeo Plus
$59 per year
Advanced statistics
5GB/week upload space & priority uploading
Unlimited HD uploading & embedding
Customizable video player
Unlimited Groups, Channels & Albums
Advanced privacy including domain-level
control

165. Vimeo Pro
$199 per year
50GB of storage, 250k plays
(additional space and plays can be added)
No bandwidth caps or time limits
Commercial hosting option
Advanced Statistics & Hosted Portfolio sites
Unlimited HD uploading & priority uploading

166. Vimeo Pro
Customizable and brandable video player
HTML5 support with the Universal Player
Unlisted Video Review pages
Third party video player support
Optional original file storage

167. Resources
Things worth checking out

169. www.RichardHarringtonBlog.com

170. Richard Harrington
RHED Pixel (www.rhedpixel.com)
Adobe Certified Expert & Trainer
Apple Certified Trainer
Avid Master Editor
Project Management Professional
Teach courses on digital media production and
web content

171. CONNECT
703.531.1325 | Office
703.608.4852 | Cell
rich@rhedpixel.com
www.RHEDPixel.com
www.RHEDPixel.tv

172. CONNECT
twitter.com/rhedpixel
facebook.com/RichHarringtonStuff
facebook.com/Rich.Harrington
youtube.com/rhedpixeltv
RichardHarringtonBlog.com
linkedin.com/in/RichardHarrington