This document provides guidance for video production, including tips for editing, pre-production, production, and post-production. It emphasizes telling an emotional story through the edit by cutting between wide shots, medium shots, and close-ups. Pre-production involves character and story analysis, scripting, and planning shots. Production focuses on capturing interviews and b-roll footage. Post-production consists of organizing assets, rough cutting, fine cutting, and revisions. Sharing videos requires considering quality, a hook, storytelling, and emotion from the start.

1. MITCHELL POWERS
• Documentary-styleVideo
Producer/Shooter/Editor
• Direct Cinema/CinemaVerite
• DSLRVideo for Non-Profits
• VirginiaTech: Film toVideo
• Senior Multimedia Producer,
UVA
“ScalableVideo Solutions”

3. THE EDITOR’S PERSPECTIVE
• Editors need choices and the more choices the better
• There is not enough footage
• Cut to support emotion, story and rhythm -Walter Murch
• Wide, Medium, Close to create tension, underline emotion
• Eisenstein and MontageTheory, the edit is the ‘nerve’ of film
• Every edit is a chance for a new idea, a new emotion

4. THE BUILDING BLOCKS
• Interview, edited loosely or aggressively
• B-roll footage, as much as possible
• Music, neutral or emotive
• Voiceover
• Animation

5. PROCESS PASSION
A Foundation for the Work

6. PRE-PRODUCTION
• Pre-Interviews, Character and Story Analysis
• Scripting, bringing in collaborators
• Storyboarding
• Shot listing
• Writing interview questions
• Collaboration vs. One Person Band

7. PRODUCTION
• Shoot interviews
• Shoot B-Roll
• Find the story

8. POST
• Collecting Assets
• Self-indictment
• Rough Cutting
• Fine Cutting
• Screenings (Collaborators return)
• Revisions
• Export and Upload

9. SHAREABILITY
• Quality, audio taking precedence.
• Give them a hook
• Tell them a story
• Emotion
• Use your capital
• Consider share ability in pre-production.

10. THE NEW SCIENCE OFVIRAL
ADS
• Pulse the Brand
• Give the viewer an emotion immediately, joy or surprise
• Shift the emotional dynamics, change the tone
• Hone the first five seconds, make a hook
• Target and cultivate extroverts
• Make a ‘cinematic social object’, a place to gather
By Dr.ThalesTeixeira

12. MAKE POETRY NOT PROSE
• R.I.P. to the Seven MinuteVideo?
• This is good: Brevity is the Soul of Wit.
• A caveat: Every length has a place at the table.

13. VIDEOS INTHE SOCIAL
CONTEXT
• Upload it to Facebook or embed fromYoutube.
• Control and experiment with what you can
• Headlines
• Thumbnails
• Titles
• Descriptions

18. PICKYOUR JAW UP OFFTHE
FLOOR ANDTURN SOCIAL
MEDIA INTO A LABORATORY.
• Experiment with your approach to EVERYTHING.
• Reflect emotion, be personal
• What works with your audiences?
• How can you help the audience connect?
• Above all else, don’t stand in their way

20. KEN ELZINGA
• A beloved figure
• Interesting, layered character
• Two camera interviews for the students
• Two camera interview effect with one camera?

22. VIDEOS WE MAKE
• News Packages
• Profiles
• Marketing
• Super Shorts
• “WebVideos”

23. WHO ISTHE AUDIENCE???
• Prospective Students
• Students
• Alumnae
• Parents
• Influencers

24. GETTINGYOUR SHOTS
• Stand on a chair! Get low, get low!
• Always get more than you need. Choices.
• Wide, Medium, Close, take notes from Hitchcock.
• Portraits.
• Cutaways.
• Get creative with movement.

25. BRANDING
It’s the world we live in.A source of ideas rather than
restrictions. It’s also not a one-way process.

27. CASE STUDY: DREAMVENDOR
• Pitched as an ensemble cast
• Cinematic movement.
• Telegenic Grad Student,W.I.T.
• Split into two videos
• Continues to be watched. Evergreen.

30. STORY PITCHES
• Get them past “We Need aVideo.”
• What’s the STORY. Is itVISUAL?
• What can a video accomplish as opposed to other methods?
• Internal politics can interfere. Sometimes you compromise.
• A win for both teams.

31. CASE STUDY: ERIC STANDLEY
• His Origin Story: Dyslexia, and a formative experience with
the infinite.
• Arts andTechnology.
• It’s about finding good stories and storytellers.
• Find people with real passion.
• Visual stories make for great videos.

33. WHERETO FIND A
VIDEOGRAPHER.
• University Community
• Photographers
• Talented Students with desire to learn
• ProductionHub, Google, Mandy

34. WHATTO LOOK FOR IN
SAMPLE REEL
• Good lighting.
• Good audio.
• Focussed. Composed.
• What styles are they shooting?
• Can they make you feel something?

35. HOWTO WORK WITH A
VIDEOGRAPHER ON
LOCATION

36. CONCERNS OFTHEVIDEOGRAPHER
• Large spaces to establish depth, for many reasons.
• The dreaded conference room.
• Good, controllable light. No high noon exteriors w/o shade.
• Exposure.
• Controllable sound.
• Complex setups to do in short periods of time. Focus.
• Highly organized shooters are best.
• Get B-Roll.Wide, Medium and Close.

37. CONCERNS OFTHE PRODUCER
• Keeping Subject relaxed.
• Exploring additional information.
• Make sure videographer has what s/he needs.
• Making sure the videographer gets his shots, has good audio.
• Getting the interview subject to say the same thing again and
again.

38. Further Questions?
mitchellspowers@gmail.com