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

Please include the entire article and footer when distributing this article.

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.

Reviewing Sony HVR-V1U HDV Camcorder

Sony shooters have long wanted an HDV camcorder that records 24p video. In December 2006, Sony began shipping the Region 60 HVR-V1U HDV camcorder. The V1 is relatively small and lightweight: 12.8"x7.2"x5.2i" and 3.6lbs. The MSRP for the HVR-V1 is $4,890.00.

Click here for a larger image

Sony 3ClearVid System

The HVR-V1U employs three 16:9 ClearVid CMOS sensors; each 1/4in. chip has 1.03 million effective pixels. The chips are always progressively scanned at either 60Hz or 48Hz (Region 60) or 50Hz (Region 50). Unlike other CMOS chips, 3ClearVid features elements that have been rotated 45 degrees.

Full Article at: http://digitalcontentproducer.com/hdhdv/depth/hdvatwork_sony_hvrv1u_031207/