(This is part two) Are you looking to add, or have already added video to your client offerings? Video is a team sport and getting it wrong can be really expensive. This course tackles everything you need to create better-looking videos that please your clients and are enjoyable to watch. Join Director Rich Harrington, as he shares practical experiences. Get part one here – https://www.slideshare.net/rhedpixel/planning-directing-and-editing-successful-video-projects-part-1

1. Planning, Directing,
and Editing Successful
Video Projects
Richard Harrington, PMP
facebook.com/
RichHarringtonStuff
linkedin.com/in/
richardharrington
twitter.com/
rhedpixel

2. Working with clients

3. The golden rules of effective project management

4. Don’t
make
them
ask

5. If you
have a bad
feeling...
say
something

6. Make sure
the client
knows that
you care
about their
project

7. Always try
to think
about
things from
the client’s
point of
view

8. Why use Project Management?

9. Why use
Project Management?
• Better control
• Better customer/team relations
• Better communication
• Higher-quality results

10. Project objectives
• Schedule
• Performance
• Cost

11. Understanding the triple constraint

12. Triple Constraint
• Scope:
• What is the work that must be completed?
• Schedule:
• What are the time constraints for the project?
• Budget:
• What are the financial constraints of the project?

13. Triple Constraint
• Learning to balance these is essential to your success
• There is a fourth force at work that holds all three
together, QUALITY
• Simply put, Good, Fast, Cheap… Pick Two!
• You job is to balance all of these

14. Managing a project with Basecamp

15. Basecamp
• Online system
• Widely used
• Supports common media types
• Scaleable

17. Using in-progress reports to communicate with clients

18. In Progress Reports
• Communicate to the client where the project is at
• Best to be proactive…
delaying ‘bad’ news only makes it worse
• Do not be overly optimistic or pessimistic…
• Be realistic

19. In Progress Reports
• Identify milestones complete
• Report percentage complete on tasks in progress
• Identify tasks not yet started
• Agree on regularity of reports with clients in advance
• DON’T MAKE THEM ASK!

20. Fostering open and frequent communication

21. Communication Goals
• Open communication
• Frequent communication
• Perception is reality
• Emotions have a huge impact

22. Always try to
think about
things from the
client’s point
of view
• Potential issues
• Is the fight worth it?
• How to choose your
battles

23. What is the Project Management Institute (PMI)?

24. www.pmi.org

25. Working with crew

26. Time Tracking
• Critical for time & materials work
• Evaluate your fixed price jobs
• Use of software systems
• Frequency of reports

27. Extra Hands Go a Long Way
• Adding crew members often means that exponentially
more footage can be captured
• Even a two-person crew can generally shoot far more
than twice as much professional footage as a single
shooter
• Minimize delays in shooting due to crew size and gear
changeover
• Hire different crew talents depending on project
© RHED Pixel

28. Recruiting Contractors
• Join local professional groups
• Ask peers or existing vendors
• Join user group communities
• DSLR meetups
• Photo Walks
• meetup.com
• Apple and Adobe user groups
© RHED Pixel

29. Crewing Websites
• www.mandy.com
• www.productionhub.com
• www.craigslist.com
• services.creativecow.net
• www.cinematography.net

30. Managing Contractors
• Clear expectations
• Job rate vs. hourly rate
• Reporting frequency
• Supervision

31. Employee Status
• When working with contractors, especially long-term
• Be careful to follow rules
• https://tinyurl.com/goton2t

32. Effective Team Membership
• Take Responsibility
• Follow Through
• Listen Actively
• Communicate Clearly
• Provide Feedback
• Accept Feedback
• Track Time

33. Direct talent for the best performance

34. Planning for project goals and impact

35. Planning for project goals
and impact
• What message does the audience need to receive?
• How do you want the audience to feel?
• What is the mission of the organization?
• Are there any future goals to plan for?

36. Getting the results you want
• Write a draft “dream script” or treatment
• Place “ideal” sound-bites that will work for your
production
• Consider intercutting multiple people telling one story
• Plan for options on topic coverage

37. Building your talking points

38. Building your talking points
• Analyze the goals of project
• Review other projects/publications from client
• Start from your rough “dream soundbite” script
• Break down bullet points by topic/segment
• Remember to include summary points and themes
• If sending to interviewee, avoid sending every question

39. Forms

40. Release Forms
• Get the right form
• Work with a lawyer
• Ensure you have written permission
• Always get hard copies
• Appearance releases
• Location releases

41. Release Forms
• Other Rights Issues
• Artwork
• Sculptures
• Architecture
• Likeness

42. Release
Apps
ASMP Releases
Easy Release
iD RELEASE
iRelease
Release Me

43. FILM LOCATION AGREEMENT
THIS AGREEMENT is made _________________________, by and between
________________________________________________________, herein after re-
ferred to as “Owner” and RHED Pixel, Inc., hereinafter referred to as “Company”.
1. For the period specified in paragraph 3 below, Owner hereby grants to Company the
right to enter upon Owner’s property (with equipment and personnel Company deems
necessary), situated at __________________________________________________,
in __________________________________________________, hereinafter referred
to as “said premises” and to erect thereon a temporary motion picture structures set and
to use them and said premises for making a education training video titled Clinical Su-
pervision, hereinafter referred to as the “Production”.
2. Commencing on or about _________________________, Company may have such
possession of said premises as is reasonably necessary to perform the Production, and
such premises use may continue from day to day, Saturdays, Sundays, and Holidays
included, and from time to time, until the proposed scenes and work are completed. It is
estimated that it will require about _____________ days of use for the Company to
complete its principle use of said premises.
3. Company agrees to leave said premises and all property of any kind located thereon,
in as good order and condition as they were immediately prior to any use of said prem-
ises pursuant to this Agreement, reasonable wear and tear excepted, and to pay for any

44. LOCATION(RELEASE(
(
For$good$and$valuable$consideration,$the$receipt$and$sufficiency$of$which$is$hereby$acknowledged,$
$$ $(“Grantor”)$hereby$grants$RHED$Pixel,$Inc.$and$its$affiliated$
companies,$ agents,$ suppliers$ and$ contractors$ (collectively,$ “RHED$ PIXEL”)$ the$ right$ to$ enter$ upon$ and$ use$ the$
exterior(s),$interior(s)$and$contents$(including$signs,$names,$displays,$identifying$features,$furniture,$fixtures,$etc.)$
of$the$ property$ located$ $ (the$ "Property")$ for$ the$ purposes$ of$
filming,$ videotaping,$ photographing,$ and$ recording$ certain$ scenes$ in$ connection$ with$ one$ or$ more$ television$
programs,$ audiovisual$ works$ and$ derivative$ works$ which$ RHED$ PIXEL$ intends$ to$ produce,$ exhibit,$ perform,$
transmit,$license,$sublicense,$market,$distribute,$sell$and$otherwise$exploit,$and$exercise$all$subsidiary,$allied$and$
ancillary$rights$in$or$related$thereto,$in$all$markets$and$any$and$all$media$(including$without$limitation,$print,$home$
video$and$interactive$applications$and$digital$platforms),$whether$now$known$or$hereinafter$developed,$throughout$
the$universe$in$perpetuity.$
$
Grantor$ agrees$ that$ RHED$ PIXEL$ shall$ have$ the$ right$ to$ place$ its$ equipment$ and$ other$ necessary$ props$ or$
materials$on$the$Property,$and$RHED$PIXEL$agrees$to$remove$them$after$completion$of$the$shoot$and$leave$the$
Property$in$as$good$condition$as$when$it$entered.$RHED$PIXEL$will$use$reasonable$care$to$prevent$damage$to$the$
Property,$and$agrees$to$indemnify$the$Grantor$and$any$other$parties$lawfully$in$possession$of$the$Property,$and$
hold$each$of$them$harmless$from$any$third$party$claims,$losses$or$damages$directly$arising$out$of$any$negligent$or$
willfully$ wrongful$ acts$ by$ RHED$ PIXEL$ in$ connection$ with$ RHED$ PIXEL's$ use$ of$ the$ Property.$ Grantor$ hereby$
agrees$to$indemnify$and$hold$RHED$PIXEL$harmless$from$any$and$all$third$party$claims$arising$out$of$a$breach$by$
Grantor$of$any$undertaking$or$representation$under$this$Agreement$or$any$negligent$or$willfully$wrongful$acts$by$
Grantor$(or$its$employees$or$agents)$in$connection$with$this$Agreement.$
$
After$ RHED$ PIXEL$ has$ completed$ its$ work$ at$ the$ Property,$ including$ all$ necessary$ restoration,$ if$ any,$ RHED$

45. Capture great on-camera interviews

46. Pre-Interviews
• Determine interview subject’s attitudes
• Find the best stories, know the worst ones too
• Determine B-roll or photos you will need to cover
• Define scenes and sound-bites in advance for improved nonfiction post workflow

47. Preparing for an Interview
• Be Prepared
• Plan your goals—short-term and future
• Visualize outcomes/impact
• Know your characters
• Consider time, budget, comfort level of interviewee

48. Getting the Results You Want and Need
• Write a draft “dream script” or treatment
• Place “ideal” sound-bites that will work for your production
• Consider intercutting multiple people telling one story
• Plan for options on topic coverage

49. Building Rapport
• Pre-interview chat
• Ask them if they have any concerns
• Assure them you will edit
• Let them know they can stop and restart as needed
• Ask them about their interests

50. Conducting Pre-interviews
• Conduct a pre-interview by phone if possible
• Use multiple background sources
• Talk to “validators”
• Know stories your subject is likely to tell

51. Share Keywords with Editor
• Analyze the goals of project
• Define themes and keywords
• Incorporate into “dream soundbite” script
• Useful to editor to drive tags and bin structure

52. Audio Interview Techniques
• Ask open ended questions
• Do not interrupt
• Ask followup questions
• Avoid alliteration
• Encourage sips of water periodically

53. Audio Interview Approach
• Keep microphone placed to the side
• Mute microphone in between takes
• Avoid lip smacking
• Wear headphones to closely monitor quality
• Record split tracks

54. The goal of video editing

55. The Goal of Video Editing
• A lot of people I know struggle with video editing
because they have a hard time grasping one of the core
concepts, and that is the goal of video editing.
• When it comes to video editing, you are trying to remove
as much as possible.

56. Your Video Can Always
Be Shorter

57. 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.
• Rarely have I heard an audience complain that a video
was too short.

58. Keep it 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.

59. The Safety Net

60. The Safety Net
• Video editing is generally non-destructive
• If we are working in the timeline and we decide to trim
away some media, it's still on the hard drive
• You'll also find multiple levels of undo and even histories,
or versions, that are automatically captured by Premiere
Pro as you edit
• The project file in Premiere Pro is very small, so back it
up to capture your edits

61. Using online review and approval tools to track changes

62. Using online review and
approval tools to track changes
• Cloud-based
• Version control
• Allows certain reviewers at key points
• Commenters can see one another's changes
• Helps to avoid reversals
• Ability to look back at prior versions/reviews
• Integration with your editing/gfx platform is a bonus

63. Online review tools for video
• Wipster
• Vimeo
• Frame.io

64. The postproduction workflow

65. The Workflow
• Transfer to Field Drive and Mirror
• Determine Editing Format
• Identify Storage Requirements
• Transfer to an Edit Drive
• Organize Media
• Edit

66. Backup and organize your footage

67. Card Management In Field

68. Importance of Good Storage
• Main point of potential failure
• Not all brands are equal
• Video has different requirements
• Capacity
• Speed
• Transfer speed considerations

69. 3-2-1 Backup

71. The 3-2-1 Rule
• Keep 3 copies of any important file
(a primary and two backups)
• Keep the files on 2 different media types (such as hard
drive and optical media), to protect against different
types of hazards.
• 1 copy should be stored offsite
(or at least offline).

72. Transfer to Drive
• Transfer to a reliable drive
• Ideally you'll use a RAIDed and redundant drive,
right away.
• Make sure both transfers are complete before
reformatting the cards.
• Transferring also helps validate the data
integrity of files and can prevent issues later
with a corrupt clip.

74. Cards in Post

75. Transferring from Field Storage
• Never edit directly off of field storage
• Transfer all field assets to redundant media drives
• Keep all field storage drives secure until project
completion and archive
• Field storage drives are like “tapes”
on a shelf

76. Organize the Media

78. Common Media Folder
• Get organized at the drive level
• Parity between project and folder
• Important with cross-application workflow
• Reduces duplicate media
• Improves backup process

79. Common Media Folder Approach
• 01_Original Footage
• Card images or cloned copies
• 02_Selects
• Footage picks
• Adapt as needed

80. Card Readers
• USBC Thunderbolt Readers
• Lexar or Hoodman
• Multiple Card Reader
• Slower
• Ability to walk away

81. Organize for edit
• Operating System
• Digital Asset Management
• Bridge
• Lightroom
• Nonlinear Editor
• Premiere Pro

82. Using Bridge
• Transferring
• Ranking
• Viewing Metadata
• Sifting
• Sorting
• Previewing

83. Making Selects
• Starring takes
• Sift and Sort
• Trim if needed
• Copy into Selects folder

84. Renaming Files
• Optional
• Can use descriptive names
• Adobe Bridge
• Includes batch rename option
• Can preserve original name in metadata for future

85. The Artist | Jason Masi

86. Music Rights

87. Music Rights
• Rush includes a small music library
• You DO NOT likely qualify for Fair Use
• Many affordable services for stock music
• Soundstripe
• PremiumBeat
• Check Creative Commons
• digg.CCMixter.org
• DO NOT STEAL FROM FELLOW ARTISTS

88. Let's Edit!

89. Choosing the Right System for
Editing
• Processor
• RAM
• Connections
• Hard Drives
• Video Card

91. Getting In Touch
twitter.com/rhedpixel
facebook.com/
RichHarringtonStuff
linkedin.com/in/
richardharrington
Photofocus.com
vimeo.com/rhedpixel

93. Two Free Classes | photofocus.tips/wppiclass

95. One Year Access All Classes
• More than 100 classes
• Hands-on exercise files
• Video, Photography, Social Media, and Creative Business
50% OffSave $50 with code WPPI

102. Two Free Classes | photofocus.tips/wppiclass

103. The Path to Enlightenment

104. There’s always somebody willing to work for less than you.

105. There’s always somebody with more talent than you.

106. There’s always somebody who’s smarter than you.

107. There’s nobody out there who is exactly like you.

108. When they can, people choose to do business with people
they like and respect.

109. Be real… Be nice… Be you...

112. Two Free Classes | photofocus.tips/wppiclass