The best ways to become a successful freelance videographer/ editor.

Being a successful freelance videographer and editor has allowed me to expand my horizons and explore things I had only dreamed of doing in the past. The secret to being successful in video, or any field for that matter is no secret, in fact the biggest hump is taking that initial step. So, in light of that, I've decided to list the crucial steps that should be taken, as well as some helpful tips, that should help get you on the path to successfully creating video and marketing yourself and your work.

First you need to have some footage "in the can". You need to, of course, make sure that the footage is some of your best work. You don't want someone judging your abilities on footage that is not indicative of what you can really do. Editing the footage and getting on tape is easier than you think. Many computers, especially Macs, have built-in software that will allow you to edit footage that is corporate DV quality. Your editing doesn't have to be flashy, in fact using too many goofy transitions distract from the footage you've shot and honestly using excessive wipes and "page turns" etc. are usually quick indicators to the seasoned veteran that you are simply not as professional as he had hoped. Keep it simple and keep it professional, if you want it to be flashy, use several well timed cuts and dissolves, get your edit points from the footage, it'll usually give you good points to edit.

You can not be afraid to get yourself in front of people. Have business cards made, Vistaprint has a service where you only pay for shipping. Get yourself connected, no one else will do it for you. Networking is HUGE! The more people you get yourself in front of the better. It may suck to hear this but you can only hide in the shadow of the internet for so long. Good, old-fashioned leg-work is the best way to get yourself some work, or at the very least get new contacts. Many times, people think that sending out an e-mail and pointing someone at a website will do the trick, but unless that employer or producer has actually met you, they will think twice about putting you in front of one of their clients. My best contacts will trust me with any of their clients. This is the goal, to get to a point where they trust you with their clients, make them look good and they will call you back for more work. The clients will even start requesting you for more of their work.

One rule to remember when you are on a production for another company... DO NOT pass out your own personal business cards! This is bad business, you can easily be labeled as a person that tries to steal clients. For one, this makes you look bad, you won't get any more work from the company that hired you and you run the risk of gaining a bad reputation, and in this business reputation is everything. Burn a bridge and you never know when it will hurt you in the future.

Follow up with people you contact. Many times the contacts you initially make will forget that you are a resource for them. Try creating newsletters and sending it to them periodically. This will hopefully get them interested in what you do and keep them abreast to recent developments in your life. Don't be afraid to put slightly personal things on the newsletter, like "I just took a great vacation to the most beautiful part of the Caribbean" and then write a short story about it. There's nothing wrong with sharing something slightly personal with people you work for, it helps make you more of a "person" and not so much just another shooter or editor. Regardless of whether you decide on a newsletter or a periodic e-mail, the main point is to keep in contact, people sometimes get into patterns of using people often because they establish a comfort level with that person. You might as well make them comfortable with you.

The last thing I'll mention should really go without saying, perform. When you are actually onsite, hustle. Don't let yourself become too comfortable with your employer. Of course, joking and having a good time while you work is essential, people love to have someone around that makes the day go by quicker. the main thing you need to keep in the back of your mind is that you are there to work. So, when it's a good time to laugh, bring it on, but when it's time to work, it's time to be a professional. Don't let being comfortable translate into being lazy. Be ready to help out in any way. Often times the DP, or Director of Photography, will perform several duties, lighting, audio, grip, shot selection, composition and even talent training. Don't be afraid to jump in and contribute. Make sure not to step on toes and tell someone else to do their job, but offer an opinion, it may help the production in the end. At the very least it will help you look like a more valuable part of the process.

Conveying your value is the most important part of this process, so get out there and show yourself and showcase your talents. The more value you show, the more valuable you become.

Carlos Borges is a freelance producer/ videographer/ editor in Florida with over 11 years experience in corporate video. More articles concerning video on the way soon. Recently he's learned the skills required to build and maintain a lasting web-presence and is sharing the opportunity at http://www.profitlance1.com

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A revolution in HDV video production? by Peter Garnish

With the advent of new technologies in DVD and digital video production, corporate production houses are poised to start creating much higher quality videos at a much lower cost. Recent HDV model releases from both Sony (HVR-Z1P) and JVC (GY-HD101) has seen high definition video production become available to smaller production companies. As a result we are now able to produce videos at full 1080i HD resolution, and with the release of Canon's hugely anticipated XL H1 get full HD-SDI uncompressed video straight from the camera.

The Canon XL H1 is long awaited follow up to the industry stalwarts the XL1/2 series. It is the company's first foray into HDV video and is also the first camera in this range to feature uncompressed HD-SDI output. What this means is that for the first time video producers can purchase a relatively cheap camera (less than US$9000) and edit full uncompressed video, without the disadvantages of using HDV and an intermediate codec to edit.

Whether you are in music video, corporate video, DVD or multimedia production, you now have the opportunity to compete with the larger companies with much higher overheads. This is great for freelancers and the industry in general as productions can be completed at more competitive rates and the huge investment in both camera gear and edit suites doesn't break the bank like it used to.

Remember the good old days when a BetaSP rig cost you $80-$100000 and about the same for an Avid setup? I for one am sure happy about the reduction in expenses and look forward to seeing some amazing work from everyone with all of this new gear.

Focusview video and multimedia is a Melbourne based company specializing in video production, CD ROM production and DVD production.

High Definition Update by Cal Barton

HIGH DEFINITION UPDATE

High Definition Update - Paul Wheeler Interview

In July 2005, I wrote an E-Zine with the headline "High Definition - When?" At the time we saw little demand for HDCAM equipment aside from some clients in the U.S. Seven months later, the situation has changed dramatically. We added two Sony HDW-F900 HDCAM camcorders (Sony's top of the line HDCAM camera for television and/or cinema) to our stock in January 2006 because of growing demand and see this as the beginning of a trend. And we have just taken a booking for a multi-camera shoot in March with six HDW-F900s.

Interview With Paul Wheeler - Soon Available on DVD

With this increase in demand, we recently hired Paul Wheeler BSC, a highly experienced film and digital cinematographer who wrote the book, "High Definition & 24P Cinematography", to run some workshops for us. While he was here, I interviewed him. We are going to make available DVDs with an edit of the interview. If you'd like one, contact me at cal@procamtv.com.

BBC - Drama and High Definition

One of my first questions to Paul was about the apparently sudden leap in demand for HDCAM. Paul's response: "Five years ago the BBC was saying within two years everything they record will be on high definition. Three months ago they said everything we record in two years time will be on high definition so trying to predict what happens is very difficult. The BBC who wanted to move in that direction haven't moved as fast as they wanted to. But that's not a technical problem. That's a problem with persuading producers that using a new technology is safe. And I think this year (2005), we've just begun to see the confidence in the system and I'm very hopeful that we're now going to see a cascade effect. Where a couple of very expensive period dramas have been done on HD, they look exactly like very expensive period dramas. And that to me is a huge starting point that I was hopeful would have happened a couple of years ago."

Sky TV and High Definition

Sky TV has also said they are on track with plans to launch HDTV in 2006. BSkyB's Chief Operating Officer, Richard Freudenstein, said recently that the dramatic improvement in picture quality would help BSkyB achieve its target of ten million customers in 2010. "Innovation and technology leadership are at the core of the Sky brand," he said. "By introducing HDTV, our ambition is to raise the bar again." BSkyB expects that sales of "HD Ready" TV sets will accelerate as equipment prices continue to fall and the availability of HDTV programming grows.

Nonfiction and High Definition

Paul says the increased use of HD in documentary and factual programming has been stronger than in drama. "We have had more factual programmes made in HD than we have had fiction and I think the main drive there is this fact that you can sell it round the world. You can only really sell drama if you've made it in England to an English speaking nation but you can change the commentary of factual to any language very easily and I think there is more potential for international sales of documentary work or factual therefore those advantages of the transparency of moving from whatever you've shot it in to whatever you want to sell it in are an even bigger advantage."

Sony HVR-Z1 (HDV) vs Digital Betacam

The most popular high definition camcorder is the Sony HVR-Z1. This is meant for low budget shoots and the camera has replaced the Sony DSR-PD170P. The main advantage is the Z1 has a wide screen chip so shoots true wide screen. The PD170P does have a wide screen setting but because it has a 4:3 chip this setting produces inferior images to the Z1. Most of our clients record in the DVCAM rather than the HDV setting when they use the Z1 and get excellent results.

In some articles I have seen the Z1 compared to the Sony DVW-790WSP camcorder with the conclusion the quality of the image is similar. According to Paul: "If you take the output straight out of the Z-1 and stick it in a decent monitor and do the same on the B-channel with a Digi-Beta and you flick between the two you'll be fairly impressed. But there are other issues in why you choose a camera. One is the recording format and the Digi-Beta format is much more stable and robust than the M-Peg 2 compression used in the HDV process." This, Paul says, is particularly a concern in post production, especially if you're doing a "fair bit of post production."

The other issues to consider are the lens and the actual robustness of the camera. The lens on a Digi-Beta is far more versatile and quicker to respond than the lens on a Z1 and if you are shooting in even slightly adverse conditions the 790 is made of far sterner stuff.

Paul's view is to "think of (the Z1) as a replacement for your PD170 but don't think of it as a replacement for the highly professional, very robust, very strong recording process of the Digi-Beta. It's not."

More on the Paul Wheeler Interview DVD

The DVD with an edit of the interview with Paul will include a discussion of the following:

* Growing use of High Definition camcorders * Z1 vs Digital Betacam * Brief summary of the different camcorders: 730, 750 and F900 * Progressive scan and interlaced recording * 720 vs 1080 * Setting the camera correctly for post production

Summary

High definition is definitely here. I have never seen a format take off so quickly. We experienced a marked increase in demand in January and interest and inquiries are growing. I recommend you learn as much as you can about the High Definition cameras available, the range of settings you can shoot in and what accessories are commonly needed. The July E-Zine covered much of this, the Paul Wheeler DVD covers more and the next E-Zine will cover commonly needed accessories.

Until then, happy shooting!

Cal Barton, Procam Television

www.procamtv.com

About the Author

Cal began working in television for the Canadian Broadcasting Corporation in Vancouver in 1982. In 1988, he moved to London and began working for Worldwide Television News, ultimately managing 17 news bureaux in Asia from the regional headquarters in Hong Kong. In 1998, Cal moved back to London to develop Procam Television. His background includes directing coverage of major international news stories.

1 Beyond CEO cites trend moving from standard definition to HD at NAB2007

All markets moving upscale By John Virata

Terry Cullen, CEO of 1 Beyond, a manufacturer of media workstations and storage arrays, details some of the new offerings the company will showcase at NAB2007 in Las Vegas. In addition, he mentions the move from standard definition video to all flavors of HD, from wedding and event videographers to low level and high end broadcast pros.


View the full article at: http://digitalproducer.digitalmedianet.com/articles/viewarticle.jsp?id=120359


An interesting trend indeed. It's about time the industry got serious about pushing HD. The trend has swung HD's way increasingly over the past few years, but the consumers are still in the grey area when it comes to fully committing to the standard. The trend of buying HD sets and not having HD content for them is more prevolent today than ever. HD support will increase the market's demand for it, hence giving more work to the people who provide it. NAB will reveal new trends and show us all where the industry will be focusing it's attention. Let's hope the quality of the products that are released are as inventive as they have been in recent years.

AVCHD will be making a strong push this year. The format totes higher quality with higher compression via the MPEG-4 standard

Giant Final Cut Pro User Group Event Announced for NAB 2007

Tickets are now on sale for the sixth annual FCPUG Network "SuperMeet" to be held April, 18, 2007 from 6:30PM - 10:00PM at the Palazzo Ballroom, Venetian Hotel, as part of the NAB Show in Las Vegas NV. This event promises to be the single largest gathering of Final Cut Pro users and Gurus in the world.

Los Angeles, CA (FV Newswire) - Tickets are now on sale for the sixth annual FCPUG Network "SuperMeet" to be held April, 18, 2007 from 6:30PM - 10:00PM at the Palazzo Ballroom, Venetian Hotel, as part of the NAB Show in Las Vegas NV. This event promises to be the single largest gathering of Final Cut Pro users and Gurus in the world.

"The Palazzo Ballroom at the Venetian Hotel is the largest venue we have ever had for one of these SuperMeets," said Michael Horton, founder of the Los Angeles Final Cut Pro User Group. (lafcpug). It will be close to double the size of last years event. We are adding over 400 seats plus there will be about 25 vendors out front showing off their products. And many of these companies will not be on the NAB show floor. This will be a sort of a Mini NAB."

The agenda is "Super Secret" according to Mr. Horton, but will be revealed shortly before the event date. "We can promise you this though," he added; "There will be demos of new products, show and tells, plenty of networking opportunities, and of course, our world famous Raffle with prizes totaling over $50,000."

Tickets are only $15.00 per person and includes 2 raffle tickets. Tickets are on sale online only and it is expected this event will sell out. Food and cash bar will be available throughout the evening. Doors open at 5:00PM and this event is open to anyone who wishes to learn more about Apple's Final Cut Studio or meet people who know more than you do.

For more information as well as a link to where to buy tickets, visit the Los Angeles Final Cut Pro User Group (lafcpug) web site.

http://www.lafcpug.org/nab_2007.html

Article from: http://www.financevisor.com/market/news_detail.aspx?rid=56123

Apple removes FCP crossgrade ahead of NAB

Apple has quietly removed the Universal crossgrade for its Final Cut Pro Studio software from its website. The move comes ahead of the NAB electronic media show in Las Vegas, Nevada, where some industry watchers expect Apple to release an update to its Final Cut Pro software. The crossgrade had been available for 12 months prior to its removal, and "expired" last week, according to one Apple representative. Another source also reports that Apple will likely introduce both Mac OS X Leopard and an eight-core Mac Pro -- Apple's top-end professional desktop system -- to accompany a Final Cut Pro upgrade at the event. Apple has already sent email invites to video production professionals to attend a special event at NAB in The Venetian Hotel and Casino; Apple has in the past consistently unveiled new products or services at such scheduled events.

News article available from: http://www.ipodnn.com/articles/07/03/26/fcp.crossgrade.removed/

3Gbps Broadcast Video Cable Equaliser available from Caelera

Mindspeed Technologies, distributed in Australia by Caelera, introduced a 3Gbps (2xHD), high-definition (HD) and standard definition (SD), dual-output video cable equaliser, rounding out its family of 3Gbps broadcast video products. Mindspeed now provides one of the first complete 3Gbps serial digital interface (SDI) solution on the market.

The M21424 video cable equaliser is one of the industry's only co-axial dual-output equaliser capable of supporting 2.5V low power operation in addition to legacy 3.3V, and is fully SMPTE standard compliant.

The dual-output 3G/HD/SD cable equaliser provides broadcast video equipment manufacturers flexibility by providing a secondary output that can be used as a monitoring output. According to Mindspeed, its new video equaliser combined with its existing 3G products is the next step toward enabling its customers the ability to build a single, multi-use 3G/HD/SD system. Mindspeed is committed to providing its customers comprehensive line of broadcast video products available.

Technical Details

The M21424 increases the maximum low jitter transmission distance of SDI video signals and DVB-ASI across commonly used bandwidth-limiting 75 Ohm coaxial cable. The device automatically optimises its transfer function based on the bit rate and cable length in order to minimise the inter-symbol interference (ISI) jitter caused by the cable as well as remove the DC offset components introduced with the pathological test pattern and AC coupling in systems.

The M21424 is designed to support data rates between 143Mbps and 2970Mbps, including SMPTE 292M, 259M, 344M and 424M.

Mindspeed's full line of broadcast video products includes single-port and quad-channel reclockers, dual-output cable driver, dual-output cable equaliser and a variety of crosspoints ranging from 4x4 to 144x144.

Press release available at: http://www.ferret.com.au/articles/z1/view.asp?id=35683

FOR-A HANABI MULTI-BIT-RATE SWITCHER PART OF NASA'S HD UPGRADE AT GODDARD SPACE FLIGHT CENTER

Becomes integral part of all live press events held at NASA's largest research center

March 12, 2007

GREENBELT, MD, March12, 2007 - NASA's largest research center, Goddard Space Flight Center (GSFC), has become the first of ten NASA centers with full live HD capability since the addition of its FOR-A HANABI HVS-3800HS switcher. The HANABI's functionality, feature set, and price point made it the obvious choice when the center upgraded to HD.

The installation of the , switcher came at an auspicious time, according to Patrick Kennedy, Goddard Space Flight Center's TV Production Manager. Scientists at the GSFC manage the Hubble Space telescope. Hubble has, since its launch in 1990, recorded more than 700,000 images in its quest to explore the solar system. In October, when NASA announced plans for a fifth servicing mission to the Hubble, the FOR-A HANABI switcher was used in a live press conference to produce and record the news in HD, then down converted it to SDI for distribution to the public via NASA-TV . "Given that the Hubble is so important, we wanted to be able to announce this in HD for historical purposes," said Kennedy. GSFC plans to hold additional press conferences in the spring using the HVS-3800HS.

The HVS-3800HS can configure up to five main units or control panels, making it easy for users to set up productions from multiple locations. And it has 16 standard inputs and 16 standard outputs. Given that GSFC has several locations that host live press conferences, this provides considerable value. Before acquiring the HVS-3800HS, a mobile production truck was used to produce the live press conferences. Now the HVS-3800HS is installed in a control room, and all adjacent press centers and auditoriums are interconnected through GSFC's existing fiber optic network. The compact nature of the HVS-3800HS appealed to users at GSFC. "It saves us tremendously in size in both the control panel and the rack panel," Kennedy explained.

The HVS-3800HS is a multi-bit-rate combination of FOR-A's well-known HANABI HVS-3000S standard definition and HVS-3000HS high definition two M/E switchers. The HVS-3800HS features the first polygon-based HD DVE available in the U.S. and supports all major standard and high definition formats, including 1080i, 24p, 23.98PsF, and 720p, among others.

Future plans at GSFC were a consideration in the selection of the HVS-3800HS. According to Kennedy, they needed equipment that could adapt to working with virtual studios if GSFC decided to implement them down the road: "We looked at other switchers and how they integrate with virtual studios. Many of them require additional cabling and create timing issues, but with FOR-A's switchers it's simply a matter of opening up the unit and sliding in more boards."

Virtual sets will become important as GSFC continues its work with scientific visualization and data-driven pictures that help scientists understand a particular weather phenomena, sea surface temperatures or hurricane tracks. "It allows us to one day have a scientist take data that's been given a visual form and interact with it to better educate the public," added Kennedy.

FOR-A is a major manufacturer and distributor of video and audio systems to the broadcast, postproduction and professional video markets. For more information about FOR-A's product line, call (714) 894-3311 or visit our web site at www.for-a.com.

How Plasma TVs And LCD TVs Differ

How Plasma TVs And LCD TVs Differ
by: Joseph Foley

The buying of large-screen TVs has absolutely skyrocketed lately. It seems that everyone wants one – and with good reason. The large-screen TV has come a long way from those faded-out behemoths of old that took up half your living room and never really produced a picture of decent quality. Now, however, especially in combination with HDTV, you can get not only a nice, large picture, but a crisp, clean one too.

Once you decide that you’re ready for a large-screen TV, you quickly discover that you only really have two main options – a plasma TV or an LCD TV. Plasma TVs were first on the scene, but the recent mass production of LCD TVs by major manufactures has put LCD TVs pretty much on equal footing with plasmas. That said, you will still have to make a choice.

If you’re like most people, you not only have no idea how the two differ, you don’t even know the areas you should be considering in order to determine how they differ. But they do indeed differ, and knowing the difference is extremely important if you’re going to get the TV that’s right for you.

You can essentially boil the differences between plasmas and LCDs into twelve basic points. In some areas, plasmas will win out. In other areas, LCDs will win out. In yet other areas, it will depend on your own personal taste in order to decide who wins out.

The twelve ways plasma TVs and LCD TVs differ are the following:

1. The first is a technical issue, and may seem a little boring, but it really does affect other areas. Plasmas TVs are made of chemical compounds called phosphors. LCD TVs use millions of liquid crystals.

2. The next section is related to how big the TVs are and the availability of larger sizes. You have a wider selection of larger-size TVs with plasmas (though LCDs are catching up).

3. The next section is “small size,” which is also important. Plasmas don't come in smaller sizes, which you will need for places like the kitchen.

4. Next is viewing angle. Plasmas tend to have a wider viewing angle (though, again, LCDs are catching up).

5. Although the manufacturers may not like to admit it, each “can” suffer from certain problems. Plasmas can suffer from burn-in effect; LCDs don't.

6. Another problem area, but for LCDs, is “delay.” LCDs can produce a jagged figure when in motion. Plasmas tend to do better. HDTV improves this dramatically for both.

7. The next area is life span. You can replace the light source with an LCD, thereby bringing your original picture back. With plasmas you can't.

8. In the next few sections, the theme of “picture quality” is considered. First, color: LCDs produce sharp, lively colors. Plasmas produce warmer and more accurate colors.

9. Next is brightness levels and the TVs ability to handle different lighting. LCDs tend to do better in bright-light conditions.

10. Also related to picture quality is “black levels.” Plasmas tend to produce blacker blacks.

11. Another area to consider is contrast range. Plasmas, "technically," produce a higher contrast range.

12. Last, and certainly not least, is price. At the moment, plasmas tend to run a little cheaper, but this is changing rapidly as LCDs flood into the market. By the time you read this, in fact, there may be no difference at all.

Essentially, which one is right for you will all comes down to taste: What potential negatives will you not really notice? What positives do you want more of? What do you really want the TV for – movies, sports, news, regular TV shows? Both plasmas and LCDs have strong advocates in their corners. Both have deliriously happy customers. But those happy customers are only happy because they knew what they wanted before they made their purchase. If you want to make the right choice, you’ll have to decide what it is you want and which of the two TVs can best give you that.

Cambodian documentary shot with Fujinon lens

Documentary filmmaker Bob Elfstrom recently traveled to Angkor Wat, Cambodia, to shoot part of an HD documentary on a rising star in the world of dance, Sar "Sy" Sokvannara. Elfstrom captured the entire shoot with a single lens — Fujinon's new 16X HA16X6.3ERM zoom.

The HA16X6.3ERM lens combines wide angle and high magnification (16X zoom ratio), enabling production crews to carry just one lens for a range of shooting environments.

Coupled with Panasonic's HDX900 DVCPro HD camcorder, the lens allowed Elfstrom, an Emmy-winning filmmaker, to lighten his equipment load and hand carry his production gear. He thus avoided shipping expensive extra lenses to a foreign location.

The HA16X6.3ERM has a wide angle of 6.3mm and a telephoto focal length of 202mm with the 2X extender. The minimum focusing distance has been reduced to 0.4m, and the lens includes Fujinon's DigiPower servo system for precise control of zoom functions.

When used with HD/SD switchable cameras, the HA16X6.3ERM wide angle increases to 7.6mm in the 4:3 mode. This is the same as Fujinon's standard ENG/EFP lenses, therefore, no ratio converter or wide adaptor is required.

For more information, visit www.fujinonbroadcast.com.