Video is arguably the most flexible communication medium, and it is constantly evolving as we discover new ways to use it. Video’s only limitation is our imagination.

Of course a video production company makes this claim, right? But think about it. Statistics show that 65% of us are visual learners, and 30% learn verbally. Is there a better way to reach nearly everyone than with the audiovisual communication of a video?

One of the most important characteristics of video is its flexibility. Our projects often evolve during production to spawn additional videos for our clients. The best example is a conference opening video. After premiering at an associations annual event, SolidLine Media can make a few key edits and transform the conference opening video into a promotional or educational piece that the organization can use throughout the year. So not only will the video grab the audience’s attention and establish a high level of excitement at the opening of their conference, but they will generate this level of excitement throughout the year through the organization’s website, DVD distribution to members and clients, and for broadcast at regional events. Essentially the same video can be used to energize current and prospective customers alike.  And that’s more bang for your production buck.

Flexibility and adaptation are central to video’s value-adding and cost-reducing capabilities. This is an increasingly important part of our services, especially in this economy (yeah we had to say it…). Adapting videos for multiple purposes increases the value of the initial investment, and improves the organization’s communications model. In addition, videos can help streamline operations. For example, our training videos can cut a two-hour safety class down to as little as thirty minutes, all while increasing information retention and creating a consistent message. This will reduce the overall cost of training while improving its effectiveness.

Another important characteristic about video is that it integrates with evolving technology. Organizations are under increasing pressure to incorporate Web 2.0 technologies like social networking. But content is still king. An organization has to engage customers online. And the evolution of the web has included video streaming, animation and motion graphics, further evidence that there is no better way to engage an audience than with video.

Flexibility, reusability and adaptability: the core characteristics of video. The possibilities for integration into business communications and direct impact on the bottom line make it essential to communications and marketing models.

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You can contact Brian Green at brian@solidlinemedia.com. 

For more information about SolidLine Media, visit us online at www.solidlinemedia.com.  Or call 312-939-8600.

Copyright 2009 SolidLine Media, a division of KV Media Group, Inc.

A production trip for SolidLine takes shape in many different stages over the course of many days, weeks, or even months.  Some of the steps are obvious, writing a script, filming, editing, etc., there are however, some other steps that are not as readily thought of, but equally important to the success of the project.  A prime example of one of these in-between yet extremely important steps, is the location scout.  Existing in-between the script writing and production stages, the location scout is a crucial step that helps you to draw up a blueprint of how to approach the production stage of your shoot.  Each step of the shoot, from the beginning of a project on through the final delivery is connected, each step affecting the next on down the line.  The more prepared you are for the production stage, the smoother the post-production stage will go, and so on.

Even if you have the best high-definition gear in the world, it doesn’t amount to much if you can’t figure out how to get it to where you’re going, and what to shoot when you’re there.  Going on a location scout will help you to answer a few questions, and fill in a few blanks.  Some things to consider…

Does your location have a loading dock? 

Does your truck fit in that dock?

Do they have a freight elevator? (You do not want to try and carry this stuff up stairs)

The SolidLine crew brings a load of equipment into University of Illinois Hospital for our shoot with Transparent Health

Is there power?  Is it the right amount (you don’t want to go blowing fuses)? Do you have enough room to set up your equipment?  Is there an out-of-the-way spot, that is secure and safe to park both your truck as well as your crew’s automobiles?  Do you need a filming or parking permit?  Will your car get hit by, say, a golf ball?  Is there…well, you get the idea.

Each of these questions and concerns can be answered relatively quickly by actually seeing the location.  Getting in contact with the location manager, or a supervisor of your location will get them familiar with what you are trying to accomplish as well, that way you don’t have anyone freaking out about the loads and loads of equipment you’re dragging through their doors.  Once the SolidLine team has a good idea of the requirements of the project, it is time to drive or fly out to your location, and see what sort of challenges you face.  Based on this trip, you will know right away what you can expect and what you’ll need to plan around.  You don’t, for instance, want to get there and realize that you have nowhere to plug-in your batteries, or worse yet, nowhere to keep your equipment safe from theft or damage.

The SolidLine rig secured outside our location, the Omni Hotel in downtown Chicago, IL.

There are difficult shots that require a lot of work to get “in the can”, but with a simple location scout out to your location, those shots will be easier, and the simple ones will be a breeze. 

Kromm puts the finishing touches on the Learning Point set-up.

So take it from SolidLine, do yourself a favor…do a location scout!

“Fix it in post.” You hear that quite often. Easy to say, but very time consuming for the audio designer who has to “fix it in post.” Why not just record it correctly in the field. Why not spend the few extra minutes it usually takes to get it right? I can’t answer those questions for you, but what I can answer is how to do it right the first time, every time.

Filming high definition video on a soundstage, Chicago, IL

Audio is just as important as the video. If you can’t hear what you are seeing, the message will be lost. I will walk you through the SolidLine Media typical video production interview and how to properly setup audio. I have what I call an audio kit, it includes: 4 channel audio mixer, Sennheiser 416 boom microphone and accessories (shotgun handle, blimp, dead cat and an XLR pigtail), 2 wired Sure lav, Sennheiser wireless lav, duplex box and cable, 2 sets of Sony headphones, several XLR cables and boom pole with side XLR output.

I always use boom poles with a side XLR output. That way the XLR plug will not get damaged if set or rested on the bottom of the pole.

SolidLine Media runs two HD cameras for all of our High Definitio video production interviews (see detailed Blog about this process).  

2 Camera filming with Boom Microphone, Orlando, FL

That requires not only both cameras having synced time codes, but also an XLR audio feed from the boom microphone. The main reason I use a field audio mixer is to pan the output audio to Stereo allowing me to have a left and right signal.

Field Mixer Input 1 - Pan Centered for Stereo Output

I run output left to camera 1 and output right to camera 2.

Output Left to Camera 1, Output Right to Camera 2

If I cannot find a controlled environment (a controlled environment is a location that the film crew has total control, i.e. a soundstage, quiet conference room or office), I will typically use a wired lav.

I used a wired lav inside this noisy U.S. military hanger, Fort Hood Army Post, Killeen, TX

The lav provides much less background noise, but decreases the realistic dynamic sound the boom produces. This allows me an additional audio channel and a creative choice in post-production. It is even possible in post to mix the two channels together to create the best of both worlds. Don’t ever mix the channels together in the field, you will never be able to separate them later. I will run the wired lavalier directly into camera 1 input 2 and always monitor with my headphones from camera 1. Always treat camera 1 as the main camera for audio and camera 2 as a backup. I will setup the audio level on camera 2 with buffer so it won’t peak and become distorted since I will not monitor its audio. Do not monitor audio from your mixer. What is important is what is being recorded, and that is camera 1, so monitor from the headphone output on camera 1.

Reviewing high definition 2 camera interview footage and sound

This very simple process provides outstanding audio for all types of video production interview setups and can be and should be tailored to fit the needs of each location and or video production.

For fun, see noisy locations below where it’s not a good idea for interview filming.

HD Video Filming at JFK Airport, New York

Video Production filming at O’Hare Airport, Chicago, IL

High Definition shooting near an F-16 Tomcat, Sheppard Air Force Base, Wichita Falls, TX

You can contact Michael Kromm at mkromm@solidlinemedia.com.

To Learn more about SolidLine Media, visit us online at www.solidlinemedia.com. Or call 312-939-8600.

Copyright 2009 SolidLine Media, a division of KV Media Group, Inc.