Posts Tagged ‘washington DC’

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http://filmtools.wordpress.com/2011/05/13/the-filmtools-audio-survival-kit-a-sound-investment/

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As 2011 enters the mid point of the year, we at ADR Productions are pleased to welcome our newest additions to the ADR family, Southland Industries and Advanced Bioscience Laboratories!

Southland Industries made a decision to outsource their training videos for the Walter Reed Army Medical Center (WRAMC) move from it’s old location to the new facilities at the National Naval Medical Center, Bethesda, Maryland site in 2011.  Southland Industries stated: “We want our training videos to look professional for our client.  After researching local production companies, we found ADR Productions to be our best choice for product quality and overall value.”

Advance Bioscience Laboratories needed a production company to come in and film their open house which included many prominent corporate leaders speaking at the event.

We look forward to our continued growth in 2011 with such companies as Southland Industries and Advanced Bioscience Laboratories.

Visit ADR Productions on the web at www.adr-productions.com

So you have an event coming up.  What is the best way to promote it?  Within the new world of social media, web video is one of the best ways to promote your event.  Web video is an excellent solution especially for yearly events.  I guarantee you that your investment of hiring a video production company to video your event is well worth your money.

There are several ways that a video production can be used.  First,  a video created about the event is uploaded to YouTube.  The link to the video is then shared with all of the participants through Facebook.  This is a great experience for them because they are able to see highlights of this wonderful event and they can share it with friends, family and co-workers.

The second way this video production can be used is to attract new sponsors and participants for next year’s event if it is an annual one.  We did this for the owner of Classic Homes of Maryland on the Extreme Makeover project.   He believes that his video is so moving that it will help him to attract new sponsors and participants for future projects.   It is great that he can let the DVD do the talking for him when showing it to potential clients.  There is no better way to give people an idea of an event or your business than through a video.

The third way that this video production can be be used is through promoting the event for next year.  We would use the same footage and use it to create a press release for the local TV stations.  This is a wonderful way for organizations to get some awesome press of their upcoming event for very little additional investment of both time and money.

The final way that this video production can be used is through the social media outlets.  The video footage can be used on Facebook, Twitter & YouTube to generate a lot of buzz for upcoming events.

The most important thing to understand is that this one time investment of hiring a video production company to cover your event or business can lead to so many opportunities to promote yourself in the future.  Without the video footage, none of it would be possible.  With that said, there is no better way to market your company or event than through the use of video.

Types of Videos Used for Your Business & Profitability

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Web Site Corporate Video
– This is type of video that once consumers get to your web site can understand your business, products or services offered in a short period of time, and whether you fit their consumer choice. Usually corporate videos are 2-3 minutes in length depending on content, products or business services. A web site corporate video will leave a lasting visual impression with its viewer, especially if the viewer is researching many businesses online. example video

Image Commercial Spot 30 /60 Second
– This form a video production is a tease or explains a brief summary about business services or one product offered. The spot is usually 30 seconds in duration but 60 seconds is necessary for more detailed services. (Festival or Event, Car Dealership, Retail shop, Travel attraction) example video

Concept Commercial Spot 30 /60 Second – The difference between a concept spot and an image spot is that a concept commercial involves actors, 2D-3D animation, provides more thought of themes, colors, slogans, and tag lines to bring the viewer to remember the commercial through emotion rather than just the facts. This commercial costs more because it takes more time to develop the concept and shoot specific shots to capture the emotion. This type of commercial spot is usually part of a lengthy marketing campaign. (Geico lizard, Coca-Cola, Budweiser Frogs) example video

Testimonial Video – This type of video is an interview style production which asks a consumer about a service or product. The testimonial video is used to relate to a new consumer evaluating and supporting a product or service. Testimonial videos can be found within corporate video productions, or on web site pages to support the product or service being sold. Testimonials can range from a couple of seconds to minutes in duration depending on how precise the persons’ answers are. example video

Documentary Style Video Segment – This video production is longer in duration and is used to present a mood or capture the essence of business through a common theme or slogan throughout. This type of video uses all the above styles combined into one segment such as interviews, testimonials, concepts, graphics, animation and more. In short it’s like creating a “mini-movie” about the subject of the business or what the business stands for.

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“Codec” is a technical name for “compression/decompression”. It also stands for “compressor/decompressor” and “code/decode”. All of these variations mean the same thing: a codec is a computer program that both shrinks large movie files, and makes them playable on your computer. Codec programs are required for your media player to play your downloaded music and movies.

“Why do we need codecs?”

Because video and music files are large, they become difficult to transfer across the Internet quickly. To help speed up downloads, mathematical “codecs” were built to encode (“shrink”) a signal for transmission and then decode it for viewing or editing. Without codecs, downloads would take three to five times longer than they do now.

“Is there only one codec I need?”

Sadly, there are hundreds of codecs being used on the Internet, and you will need combinations that specifically play your files. There are codecs for audio and video compression, for streaming media over the Internet, videoconferencing, playing mp3’s, speech, or screen capture. To make matters more confusing, some people who share their files on the Net choose to use very obscure codecs to shrink their files. This makes it very frustrating for users who download these files, but do not know which codecs to get to play these files. If you are a regular downloader, you will probably need ten to twelve codecs to play your music and movies.

“What are the common codecs people use?”

Some codec examples are MP3, WMA, RealVideo, RealAudio, DivX and XviD. There are many other more obscure codecs.

“Isn’t ‘.AVI’ a codec already?”

AVI is not in itself a codec; it is a common “container format” that many different codecs can use. As there are hundreds of codecs out there are compatible with AVI content, it can get very confusing which codec(s) you will need to play your video files.

“How do I know which codec to download and install?”

Your Windows Media Player will often try to communicate to you the 4-character code of the specific codec it needs. Note this code, then visit this website http://www.fourcc.org/fcccodec.htm to obtain the missing codec. For a small FAQ section, follow the link on the left called “Sample Code”.

“What are the codecs I should download and install?”

There is no single best answer to this question. There are so many codec choices. The easiest option is to download “codec packs”. Codec packs are collections of codecs gathered in single large files. There is much debate over whether it is necessary to get a large group of codec files, but it certainly is the easiest and least-frustrating option for new downloaders. Here are the codec packs we recommend at About.com:

  1. CCCP Combined Community Codec Pack is one of the most comprehensive codec packages you can download. CCCP was put together by users who like to share and watch movies online, and the codecs they’ve chosen are designed for 99% of the video formats you will experience as a P2P downloader. It is still virus-free as of February, 2010, so definitely consider CCCP if you think your computer needs updated codecs.
  2. XP Codec Pack XP Codec Pack is a sleek, all-in-one, spyware / adware free codec collection that also offers a good, solid Media Player Classic. Currently just under 6MB in size, XP Codec Pack is truly one of the most complete assemblies of codecs needed to play all major audio and video formats.
  3. K-Lite Codec PackVery user-friendly and well tested, K-Lite Codec Pack is loaded with goodies. It will enable you to play all the popular movie formats. K-Lite comes in 4 flavors: Basic, Standard, Full and Mega. If all you need is to be able to play DivX and XviD formats, Basic will do just fine. Standard pack is probably the most popular – it has everything an average user needs to play the most common file formats. Full pack, designed for power users, has even more codecs plus encoding support.
  4. K-Lite Mega Codec Pack Mega is a very comprehensive bundle…it has everything but a kitchen sink. Mega even contains QuickTime Alternative and Real Alternative.

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The incredibly compact microphones that get attached to a person’s clothing in order to pick up their speaking voice are called “lavalier” microphones. They’re also referred to as “lapel” microphones. These microphones can serve a number of purposes, but to capture someone’s voice inconspicuously is by far their most common use. Don’t let their small size fool you. The most important voices in broadcasting, politics, and the entertainment world all have to wear lavaliers. They have to sound good.

Lavalier microphones are used both wirelessly and with microphone cables. This article’s focus is on the nature of the microphones themselves, regardless of how they connect to their source. It should be noted that with wireless lavalier microphones, the type of connectors that attach the microphone to the transmitter of the wireless system vary greatly. If you’re curious about what kind of lavalier microphones you can use with your specific wireless system, don’t hesitate to call us at 1-800-947-9923.

The need for a lavalier arises when hands-free operation is required, and when the sound must be clearly picked up without the obtrusive visual presence of a larger microphone. These circumstances can also apply when a shotgun microphone is used, but lavalier microphones offer certain advantages shotguns cannot. Lavaliers are usually only a matter of inches away from a subject’s mouth, so the audio quality is often more present and consistent. A shotgun microphone usually requires an extra person to operate a boompole, but lavaliers function without manual assistance. Lavalier and shotgun microphones don’t necessarily replace one another; in fact, they’re commonly used in conjunction with one another during a production.

Lavalier Mic
Using a lavalier clip with two holders allows you to create a loop in the cable to cut down on vibration noise.

There are a few different pick-up patterns available in various lavalier microphones. The most popular pattern is omnidirectional. A common misconception about omnidirectional microphones is that they pick up the sound of an entire space, no matter how far away the microphone is from the person’s mouth. This is not so. Omnidirectional does not mean omnipotent-directional. Omnidirectional lavalier microphones are popular because they tend to sound the best. Also, when the person who is wearing the mic turns their head while they’re speaking, there is no dip in volume because there is no area in the pick-up pattern the microphone is trying to cancel out. Another reason for their popularity is that they are physically smaller than the cardioid lavaliers.

Cardioid lavaliers are really only used in high-noise environments, or when feedback from monitors in a live sound situation becomes an issue. In both of these cases it’s often a better idea to use a headset microphone as opposed to a cardioid lavalier.

Lavalier microphones are used universally in TV and film production, as well in live stage productions and houses of worship. In theater it’s common practice to conceal a lavalier microphone in the hair or the wig of the performer. In film production lavalier microphones are often hidden beneath clothing. This is done in situations where the microphone needs to go completely unseen.

When a lavalier is obscured behind hair or clothing, some of the high frequencies can get cut because the microphone is physically muffled. Manufacturers compensate for this by designing and building lavaliers with a boosted high frequency response. Because of its flat physical shape and its excellent sound quality, the Tram TR-50 is a popular choice for a microphone to conceal under clothing.

Voice Technology VT506
This Voice Technologies VT506 features a 6dB high frequency bump. It also includes various mic clips and a microphone cage.
Countryman B3
Due to its extremely small size and resistance to moisture, the Countryman B3 is widely used for hiding in a performer’s hair or wig.  Countryman also makes a lavalier with a high frequency boost that’s good for concealing, the EMW Peaked Frequency Response.
EMW Peaked Frequency Response.

Lavaliers can be used for a variety of purposes, in a number of different ways. From surveillance operations to sound effects creation, their miniature size finds its way where other microphones cannot. Musicians will sometimes use lavalier microphones on their instruments. The multi-tasking Audio Technica AT831B comes with one clip to attach the microphone to your clothing, and a second clip to attach the microphone to a musical instrument.

Below we have listed some popular accessories that work universally with all lavalier microphones:

Microcats – These are little fuzz balls that fit snuggly over lavalier microphones in order to cut down on wind noise. They enable you to use a lavalier in a high wind environment.

Undercovers – A disposable system from Rycote that enables you to mount the microphone under clothing (you don’t need a clip), and it prevents rustling and contact noise as well. This is an excellent solution for use with lavaliers that do not have a microphone “cage” accessory available.

Stickies – An adhesive pad from Rycote that allows you to easily mount a lavalier to clothing or skin.

Overcovers – A disposable system from Rycote that enables you to easily mount a lavalier microphone to clothing or skin, and protect the microphone from wind noise when used in high wind environments. Microcats.

RKR Micro – An inexpensive universal microphone clip solution.

Visit ADR Productions on the web at www.adr-productions.com

The complete history of the video camera is contained within only the last century or so, but as with many forms of modern technology, no one person is solely credited as having invented the video camera.  John Baird, a Scottish engineer, was one of the earliest pioneers in capturing moving images for television production.  However, his experiments were built upon others that had come before him and much of the technology employed in the evolution of the video camera was built upon his findings. So while it’s safe to say that Baird was a pioneer in video camera technology, it is unfair to say that Baird invented the video camera.

The video camera as we know it today is able to record images and sound. The first demonstration of this capability took place on 14 April 1956.  Ray Dolby, Charles Ginsberg, and Charles Anderson invented the video camera that was the first machine to record both image and sound. This invention sold for approximately $75,000 US Dollars (USD) apiece.  Affordable only to major television broadcast studios such as CBS, who purchased three the same year, these machines remained professional devices for several years.

Video cameras designed for personal use, now called camcorders, became available to the general public in the 1980s.  These machines were bulky, heavy, and expensive, but proved to be efficient.  Building upon technology that had been developed for years, major electronics companies such as Sony and JVC began developing new technology.  These companies invented the video camera we now call camcorders.  These devices were capable of capturing image, sound, and recording to a storage device all in one machine.

n the late 1980s and early 1990s, those same companies who had invented the video camera for personal use began to miniaturize and digitize their machines.  The camcorder became smaller and more compact and by the late 1990s, digital camcorders were the most popular form of video camera. Today, video camera technology is inserted into numerous portable devices including cell phones, PDAs, and digital cameras, capable of taking both still images and moving images as well as recording sound.

Visit ADR Productions on the web at:  www.adr-productions.com

 

Search & Win

There are currently (2011) three main frame rate standards in the TV and movie-making business: 24p, 25p, and 30p. However there are many variations on these as well as newer emerging standards.

  • 50i (50 interlaced fields = 25 frames) is the standard video field rate per second for PAL and SECAM television.
  • 60i (actually 59.94, or 60 x 1000/1001 to be more precise; 60 interlaced fields = 29.97 frames) is the standard video field rate per second for NTSC television (e.g. in the US), whether from a broadcast signal, DVD, or home camcorder. This interlaced field rate was developed separately by Farnsworth and Zworykin in 1934,[1] and was part of the NTSC television standards mandated by the FCC in 1941. When NTSC color was introduced in 1953, the older rate of 60 fields per second was reduced by a factor of 1000/1001 to avoid interference between the chroma subcarrier and the broadcast sound carrier.
  • 30p, or 30-frame progressive, is a noninterlaced format and produces video at 30 frames per second. Progressive (noninterlaced) scanning mimics a film camera’s frame-by-frame image capture. The effects of inter-frame judder are less noticeable than 24p yet retains a cinematic-like appearance. Shooting Video in 30p mode gives no interlace artifacts but can introduce judder on image movement and on some camera pans. The widescreen film process Todd-AO used this frame rate in 1954–1956.
  • The 24p frame rate is also a noninterlaced format, and is now widely adopted by those planning on transferring a video signal to film. Film and video makers use 24p even if their productions are not going to be transferred to film, simply because of the on-screen “look” of the (low) frame rate which matches native film. When transferred to NTSC television, the rate is effectively slowed to 23.976 frame/s, and when transferred to PAL or SECAM it is sped up to 25 frame/s. 35 mm movie cameras use a standard exposure rate of 24 frames per second, though many cameras offer rates of 23.976 frame/s for NTSC television and 25 frame/s for PAL/SECAM. The 24 frame/s rate became the de facto standard for sound motion pictures in the mid-1920s.
  • 25p is a video format that runs twenty-five progressive frames per second. This frame rate derives from the PAL television standard of 50i (or 50 interlaced fields per second). Film and Television companies use this rate in 50 Hz regions for direct compatibility with television field and frame rates. Conversion for 60 Hz countries is enabled by slowing down the media to 24p then converted to 60 Hz systems using pulldown. While 25p captures half the temporal resolution or motion that normal 50i PAL registers, it yields a higher vertical spacial resolution per frame. Like 24p, 25p is often used to achieve “cine”-look, albeit with virtually the same motion artifacts. It is also better suited to progressive-scan output (e.g., on LCD displays, computer monitors and projectors) because the interlacing is absent.
  • 50p and 60p is a progressive format used in high-end HDTV systems. While it is not technically part of the ATSC or DVB broadcast standards, it is rapidly gaining ground in the areas of set-top boxes and video recordings.
  • 72p is currently an experimental progressive scan format. Major institutions such as Snell & Wilcox have demonstrated 720p72 pictures as a result of earlier analogue experiments, where 768 line television at 75 Hz looked subjectively better than 1150 line 50 Hz progressive pictures with higher shutter speeds available (and a corresponding lower data rate).[4] Modern cameras such as the Red, can use this frame rate to produce slow motion replays at 24 frame/s. Douglas Trumbull who undertook experiments with different frame rates which led to the Showscan film format, found that 72 frame/s was the maximum frame rate at which emotional impact peaked for viewers.[5] 72 frame/s is the maximum rate available in the WMV video file format.

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Video production can cost as much or as little or as your budget allows.

You can borrow a flip camera, shoot some video and upload it to YouTube – all for free. Or you could hire James Cameron to write, produce and direct your video where you’d be looking at a budget just shy of  half a billion dollars when you include marketing costs and Hollywood accounting. Both options would result in a finished video but you’d probably need special glasses to watch the the more expensive option.

The good news for businesses looking to engage a video production company is that many of the factors that affect the price of a video have been going down over the last few years. Some dramatically. Assuming you find a company that does great work (this is a critical first step by the way – if the company doesn’t do great work it’s not worth paying anything for) the first question to be answered is  ‘how much does a video cost?’ There is no simple answer to that question but here are 25 factors (ranked in order of importance to the overall quality of the video) that affect the price of a web video:

  1. Production Experience. Doctors, mechanics, lawyers, videographers… whatever profession you care to mention, experience matters more than any other factor and, all things being equal, you do tend to get what you pay for. There are many, many moving parts in the creation of a video but at the end of the day you are paying for the expertise and experience of the key people responsible for your video. 
    Costs:
    You can pay $25/hour for a recent film school graduate or $250/hour for a top flight video veteran. On average most production companies will charge between $50/hour and $150/hour for the people involved in key activities such as shooting and directing.
  2. Concept / Script / Storyboard –  Doing video for the sake of video is a waste of money (although it’s great for the video production industry!) What measurable business objective are you trying to achieve?  How is this video specifically going to achieve that objective? And of greatest importance, do the people creating your video have the experience or guidance to create a video that will help move your business forward? Lighting, sound, framing and editing are all important but they don’t matter in the least if what you are creating has no value to your intended audience. Like companies that spend $10,000 on website development and little or no money on content for the site, many companies waste a lot of money on nicely shot but otherwise meaningless video.
    Costs: Expect to spend between $60/hour and $125/hour for an experienced marketer (does it make sense to have an entertainment script writer or video production assistant develop your marketing script?) to develop a concept, script and storyboard that serves as the blueprint for you video.
  3. Editing. The editing process is highly nuanced. Editing is where you create the style and substance of the video – you sequence all of the available assets into a cohesive story that communicates your key messages in a clear and engaging manner. Editors arguably should be the most highly paid (and skilled) in the entire process (quite often they are not.)
    Costs:
    Editing costs run between $40/hour and $125/hour.
  4. Actors/Presenters. Do you need to hire professional presenters, actors or models to improve the quality of your presentation? Not everyone is good on camera. You may need to make difficult decisions about who should represent your company. In a broadcast commercial quite often it is not someone in your company. Even in a corporate video you may decide that hiring outside talent is the best decision.
    Costs:
    Presenters, models and actors can range anywhere from $50/hour to $200/hour or more depending on experience, demand and union costs.
  5. Camera. The quality and flexibility of the camera you shoot with can make a huge difference in the finished quality and editing options for your video. Are you shooting on a $ 500 DV camera, a $2,500 DSLR, a $10,000 Full feature HD camera, a $20,000 RED or are you shooting on Film? The pace of technology advancement in film and video is breathtaking and the features and capabilities of cameras are changing weekly.  Bottom Line: You should be able to see the difference in the final output quality in more expensive cameras. If you can’t, then it’s not worth paying for.
    Costs:
    You will spend between $25/hour and $150/hour or more depending on which digital camera is used. Film cameras, lenses and stock will take you well over $1,000 /hour.
  6. Equipment. The more experienced video production companies tend to have a wide variety of tools and equipment on hand for each shoot. Do you need a track dolly or a jib-arm to create a shot with movement? Do you have a high quality field monitor to know exactly what you are getting (or not getting) as you shoot? Do you have all the necessary audio equipment (lav’s, direction mics, booms etc) to capture the audio you need?  Lighting and framing are everything in video. Do you have lights – lots of different lights to accommodate a wide variety of shooting scenarios? Do you have a variety of lenses to create the specific feel you are after – wide angle, fixed focal length or Cine lenses for narrow depth of field, etc?
    Costs. Equipment cost can run anywhere from $25/hour to $100′s/hour or more depending on what specific equipment is required.
  7. Crew. If you’ve ever watched a movie or television show being filmed you might wonder why you need so many people standing around idle on a set. Most business web video productions don’t require more than two people (and sometimes one is enough) but depending on the complexity of the shoot you may require a crew of three or more. If you are conducting man on the street interviews as an example, you need a cameraman, a sound man and a directer or interviewer. Concept videos like commercials will often require more people to help with the logistics of the shoot.
    Costs: Expect to pay between $ 25 and $75/hour/person for experienced crew.
  8. B-Roll / Cut-away shots. Most videos benefit from the addition of footage that supplements what is being said on screen. If you are interviewing a business owner who is talking about their new equipment you should cut away to shots of the equipment as they speak. Showing the viewer what is being described in the video is more informative (show me , don’t tell me) and also helps to keep the attention of the impatient viewer.
    Costs: The length of time and equipment used to capture the b-roll will increase production costs. You can add anywhere from 10% to 50% of the total shooting costs if you need to supplement interview footage with b-roll.
  9. Locations and production time. Where are you shooting? How long will each scene/interview/shot take?Are you shooting in one location or many? What are the specific requirements and constraints of each location? Are you indoor or outside? If you are shooting outside is weather a factor? If so what happens if it rains? How much set-up time is required? Are the locations close together? The most important factor is the total amount of time required for production. There are few economies of scale for time – but with good planning you can do a lot within a specific period of time.
    Costs: This cost is arithmetic. Two days of shooting is twice as expensive as one day. {If shooting extends for many days or is regularly scheduled then most companies offer a discount}
  10. Studio shooting. Do you require the use of a sound stage or studio? Do you need a controlled environment to shoot in? Are you shooting green screen and keying out the background in edit? The use of a studio has to be factored into the overall cost of the production one way or another. Larger companies may include studio time in their shooting costs and other companies include it as a line item as studio rental time.
    Costs: Factor in between $100/hour and $ 400/hour depending on the size of the studio. (If you need a studio you will be charged for it – one way or the other)
  11. Set, props, equipment, extras. Aside from video production equipment are there other special props or pieces of equipment that need to be included as part of the costs? Do you need to rent a van, rent furniture, hire extras, hire a plane or helicopter for an aerial shot or bring in special equipment for the shoot? These all have to be factored in to the cost of the shoot.
    Costs: Depends on what is required.
  12. Stock footage Do you require supplemental footage or images to support the video? There are many websites that sell high quality still and video footage. Some videos are comprised completely of stock footage, text and voice-over.
    Costs: Stock images can be as cheap as $3 and great quality HD stock footage can cost as little as $50.
  13. Narration Do you need a voice-over to tell your story or to tie the video together. Video is a powerful medium but it is even more powerful if you take full advantage of audio to support what is being shown on screen.
    Costs: Voice-over costs have dropped dramatically over the last five years. Many voice artists work from home and can produce great work for almost any budget. $100 – $400 for a 2 minute video is reasonable depending on the experience and demand for the specific voice artist.
  14. Audio files. Do you require a music bed, special sound effects or other audio to supplement your video?
    Costs: Good quality music for video starts as low as $30 for a two or three minute track. Custom audio can cost $1,000 or more depending on the experience of the musician and what is required.
  15. Teleprompter. A teleprompter can save a shoot. Even the most experienced speaker can be intimidated by lights and camera. It’s true that you can usually tell when someone is reading a teleprompter but that may still be preferable to the agony of a shoot spiraling out of control because the CEO can’t remember his lines.
    Costs: Teleprompter and operator usually cost between $350 and $600 for a half day.
  16. Geographic Location. New York is more expensive to shoot in than Central Lake, Michigan because the cost of living is higher in New York. Half day rates don’t exist in some large cities today.
    Costs: Expect to pay between 25% and %50 more if you are shooting in a large city.
  17. Digitizing, transfers, rendering and uploading. Video takes on many forms during the production process. If you shot on film you have to transfer it to a format that works in your editing system. After you edit it, you have to render it to a presentation format (for web, for broadcast, etc.) and depending on where it’s going you may have to upload it somewhere (your web server / YouTube / The Academy Awards, etc). All this takes computer and human time and you generally have to pay for both.
    Costs: Sometimes these costs are buried, sometimes they are line items. Tape transfers are still very expensive ($100′s of dollars).  Rendering and uploading time are usually buried in the costs but can also be charged out at an hourly rate ($50 – $100 per hour).
  18. Length of the Video. The longer the video the more it is likely to cost. Web videos tend to be around a couple of minutes although this varies considerably depending on the type and purpose of your video. Filming an articulate talking head (limited editing) for 10 minutes is much cheaper than creating a 30 second commercial. So…
    Costs: All things being equal (they never are) consider longer to be more expensive, but it’s not arithmetic. An extra minute of video might only cost you %10 more if you have planned the extra requirements into the overall workflow.
  19. Licensing/Union Fees. Are you using any media assets or talent that could be subject to ongoing licensing, usage or union fees? The web continues to drive all costs down including licensing fees – but they still exist. The best talent is usually a member of  SAG, ACTRA or some other union.
    Costs: Varies depending on the project and talent.
  20. Direct or Third party. Are you dealing directly with the video production company or are you going through an agency or other middleman?
    Costs: You should expect that you are paying at least a %30 mark-up if you are going through a third party.
  21. Interactivity. Are you creating linear video or are you building in interactivity? Is there a direct call-to-action that you want to get the viewer to follow? Do you require flash programming do build the video into a special player that will sit on a specific landing page? The future of video is interactive video.
    Costs: Expect to pay between %10 and %30 more to develop interactivity and flash support elements into your video.
  22. Hosting. Your video is going to live on the web. Where is it being hosted? You might end up hosting it on different servers (your own, YouTube, a business portal, etc.) depending on your business needs.
    Costs: Hosting is either free or relatively inexpensive ($ 5 – $10 / month/video depending on bandwidth usage.)
  23. Formats. How many different formats does your video have to be rendered in? Where is it going to be seen? Do you need a short version (editing down) and a long version? Does it sit in a multiplayer or is it in three different players? Should you break it up into pieces to make the length of it a little less evident and also to allow the user a bit more control?
    Costs: Adapting multiple formats for a video could add %5 to %10 percent to the cost of the job depending on how much editing is required.
  24. Language and translation. Do you need close captions? Do you need language versioning? Do you need onscreen text to change per language? Do you need to dub in different narration for different markets?
    Costs: Language versioning can add %10 to %20 to the overall cost of the job. (Editing and proofing of different languages is usually much more time intensive than one language alone.)
  25. Miscellaneous fees. Ya, everyone hates lawyers ‘disbursement fees’. Video production has the equivalent in ‘Miscellaneous fees’: Travel costs, meals, mileage, hotels, transportation, out-of-pocket… it all adds up.
    Costs: Usually in the $100′s and sometimes in the $1,000′s of dollars on larger shoots.

Bottom Line?

Taking all of the above into consideration there are reasonable ballpark figures that you can use as a guidepost for budget purposes. A two to three minute web-based corporate video presentation might cost between $2500 and $7500 depending on the variables mentioned above. If you use the time honored “$1,000 a minute” for a professionally produced online corporate video as a starting point, that will give you a reasonable idea of where to begin in the budgeting process.

Budgeting Tip:

The best way to get a quick estimate is to have a reference video to compare to. (I.e. “How much would something like ‘this’ cost.”)

Visit us on the web at www.adr-productions.com

More and more companies are using video to deliver their message on the Web – and not only media companies. In a recent article in USA Today, many different types of customers are using online videos to market, communicate, educate and inform. These include companies like AFL-CIO, Billy Graham Evangelistic Association, Archive of American Law Enforcement and the Asia Foundation, to name a few.

It’s estimated that over 200 billion videos will be streamed over the Internet in 2011, which is a 24% increase from last year. This growth is due to faster Web connections and the fact that 98% of the world has access to Flash, which has become the dominant technology thanks to YouTube, the social networking site. What makes video on the web so powerful is the combination of audio and visuals working together. It’s the same principle that makes TV advertising more powerful than print. People no longer have to look at static pages filled with information that has to be read. Instead, online videos can talk viewers through the highlights and more salient points of the information, and those who choose to can read more at a later time.

Examining our own customer’s experiences, they are see signifcation lift on conversation rates from using a professionally produced video. In fact, some of our customers are now seeing a ten times increase in conversion rates. Even more interesting, we have explored the impact of professionally produced videos vs self produce. Interestingly, a low res, poorly produced video actually has the impact of hindering conversion rates.

So what do you need to get professional looking web video? You have to start with a script – one that lays out the actual content and suggested visuals. Then you have to choose the right on-camera talent to appear on your website. Make sure the person is “product appropriate” – if you’re selling women’s intimate apparel, don’t have a young male talent on camera! Your best bet is to hire a professional studio (professional studio, video production, video studio) to shoot the video. They know all about lighting, shooting – and editing! Maximize your investment with a quality production.