Creating videos people want to watch


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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?

Creating videos people want to watch

  1. Creating Videos People Want to WatchPractical advice and implementable techniquesRichard Harrington - RHED Pixel | | rhedpixel RichHarringtonStuff rhedpixeltv
  2. Purpose ofWorkshopThere’s a lot to making a great video… one thatconnect with an audience and drives them toaction.  Of course video can be both expensiveand time consuming.In this session, web video expert Rich Harringtonshares practical advice that won’t break the bank.  He’ll share techniques his used for big brands likeApple, the American Red Cross, the Family OnlineSafety Institute and more.
  3. Purpose ofWorkshop 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?
  4. Richard Harrington RHED Pixel ( Adobe Certified Expert & Trainer Apple Certified Trainer Avid Master Editor Project Management Professional Teach courses on digital media production and web content Personal blog – Social media – rhedpixel
  5. RHED PixelMobile Video Experience
  6. 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
  7. Mobile Video Experience OnMicrosoft OnNetworking OnOpenSource OnSecurity OnSoftware MacBreak Work Inside Mac (consulting) Photoshop User TV (consulting) MommyCast (production)
  8. The Internet in America Just what’s going on online?
  9. 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
  10. High-Speed Access at Home % Who Have Broadband/Dial-Up Internet Access at Home100 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
  11. 112Million
  12. Online Video Watching % Who Have Watched Online Video in Last Week100%75%50% 4325% 12 0% 2006 2012
  13. YouTube Video Watching % Who Have Watched Internet Video Programming From YouTube50% 45 41 38 3738% 34 31 2825% 23 21 1413% 12 70% Last Month Last Week 2007 2008 2009 2010 2011 2012
  14. Secret #1Have a Concept
  15. The Five W’s for Refininga 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?
  16. 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.
  17. 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?
  18. Questions to Ask Make-Up of Audience? Connection Speeds? Embedded into Page? Downloadable? Portable? Protected?
  19. Secret #2Have a Plan
  20. Delivering Mobile Video Plan Produce Distribute Promote Monetize (optional)
  21. Making a Plan Site survey Storyboard Sketch Camera Shot list Lighting diagrams
  22. 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
  23. Balancing Production Carefully choose acquisition format Select talent carefully Keep it short Rehearse during changeovers Use shot list & keep shot ratio very low
  24. Secret #3Shoot with the Right Settings & Camera
  25. 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
  26. 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
  27. 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
  28. 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
  29. 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.
  30. How to Determine WhichHD You Need to Use Frame Size Requirements Editing System and Post Production Workflow Tape & Camera Formats End Usage Goals
  31. Different Grades of HD Consumer & Prosumer AVCHD & HDV DSLR Professional DVCPRO HD & XDCAM HD Cinema Redcode, HDCAM, & Genesis
  32. Secret #4Frame Your Shots
  34. 180˚ RULE
  40. CLOSE UP
  44. Shot
  45. The Visual StoryBruce Block
  46. Secret #5Audio is Half the Picture
  47. 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.
  48. 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.
  49. Music Options Do not steal music. What you hear about fair use is not valid for commercial ventures. Visit to learn more. Royalty-free music options are plenty. another good resource.
  50. Sync Sound Workflow
  51. Why Record Dual Sound? Internal microphone quality Automatic Gain Control Difficulty in monitoring Challenge to keep constant levels
  52. 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
  53. 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
  54. Secret #6Prep Your Talent
  55. Selecting andPrepping 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.
  56. Selecting andPrepping 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.
  57. 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.
  58. 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.
  59. 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.
  60. On-CameraConsiderations 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.
  61. On-CameraConsiderations 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.
  62. Secret #7Make Your Message Stick
  63. 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?
  64. 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.
  65. Brand ThroughoutCustomers need consistency
  66. Secret #8Beautiful Video Comes From Lighting
  67. 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.
  68. 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.
  69. 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.
  70. 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.
  71. 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.
  72. 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.
  73. Budget LightingMake It Good, Fast, and Cheap
  74. Secret #9Video is a Visual Medium
  75. Relevant Visuals Video based content should add to the broadcast by delivering information that cannot be relayed in an audio only format.
  76. 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.
  77. 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.
  78. 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.
  79. Secret #10Your Video Can Always Be Shorter
  80. 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.
  81. 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.
  82. Editing Advice
  83. Editing Advice Seek resolution independent NLE Flexibility with frame sizes Flexibility with frame rates Synchronize frame rates early on Consider repurposing content
  84. Editing Advice Exposure & Contrast Color Balance Audio Mix & Normalization Interlacing and when it is removed Run Time Shot Composition
  85. Secret #11Learn About Video Compression
  86. Compression isa Science Lots of technology at work Cutting edge research Digital Rights Management Expensive Setup and Hosting
  87. Compression isCommon Sense Making copies Get it out there Fairly automated Speed up postproduction & delivery
  88. Architecture Global family or classification of a file Includes MPEG, Flash, QuickTime, Windows Media, AIFF The ‘big’ picture
  89. 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
  90. 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
  91. Sampling Rate The number of samples captured per second Audio CDs are 44.1 kHz Digital Video is 48 kHz Bigger is higher quality
  92. 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
  93. Batch Processing A benefit of many compression utilities Set up several files to run Walk away and leave a computer working hard Ensures consistency
  94. Maximum video sizesupported 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
  95. More on Compression
  96. Secret #12Put Your Videos In Lots of Places
  97. Video Sharing Websites YouTube Howcast Adobe TV Revver Dailymotion Vimeo Veoh Google Facebook
  98. YouTube
  99. 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
  100. YouTube Statistics YouTubes 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
  101. Vimeo
  102. 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
  103. 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
  104. 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
  105. ResourcesThings worth checking out
  107. Richard Harrington RHED Pixel ( Adobe Certified Expert & Trainer Apple Certified Trainer Avid Master Editor Project Management Professional Teach courses on digital media production and web content
  108. CONNECT703.531.1325 | Office703.608.4852 |