Professional

Web Video
This page intentionally left blank
Professional
Web Video
Plan, Produce,
Distribute, Promote,
and Monetize
Quality Video

Richard Harrington
and Mark Weiser
with Rhed Pixel

AMSTERDAM  •  BOSTON  •  HEIDELBERG  •  LONDON  •  NEW YORK  •  OXFORD

PARIS  •  SAN DIEGO  •  SAN FRANCISCO  •  SINGAPORE  •  SYDNEY  •  TOKYO
Focal Press is an imprint of Elsevier
Photography:       Richard Harrington, Emmanuel Etim, Liang Cai, Ian Pullens, Pam Vinal, James Ball, Lisa Robinson, and Mark Weiser
Technical Reviewers:  Phillip Hodgetts, Jason Van Orden, Kristopher Smith, and Lee Gibbons
Contributors:     Jason Van Orden, Paul Vogelzang, Hayden Black, Ray Ortega, and Emmanuel Etim

Focal Press is an imprint of Elsevier

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The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or m
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This book and the individual contributions contained in it are protected under copyright by the Publisher (other than
as may be noted herein).

Notices
Knowledge and best practice in this field are constantly changing. As new research and experience broaden our
understanding, changes in research methods, professional practices, or medical treatment may become necessary.

Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any
information, methods, compounds, or experiments described herein. In using such information or methods they
should be mindful of their own safety and the safety of others, including parties for whom they have a professional
responsibility.

To the fullest extent of the law, neither the Publisher nor the authors, contributors, or editors, assume any liability for
any injury and/or damage to persons or property as a matter of products liability, negligence or otherwise, or from
any use or operation of any methods, products, instructions, or ideas contained in the material herein.

Library of Congress Cataloging-in-Publication Data

Harrington, Richard, 1972-
  Professional web video : plan, produce, distribute, promote, and monetize quality video / Richard Harrington and
Mark Weiser.
    p. cm.
  ISBN 978-0-240-81509-1
  1.  Video recording.  2.  Video recordings–Production and direction.  3.  Webcasting.  I.  Weiser, Mark.  II.  Title.
  TR851.H37 2010
  778.59–dc22
2010038553

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN: 978-0-240-81509-1

For information on all Focal Press publications

visit our website at www.elsevierdirect.com

10  11  12  13  14  5  4  3  2  1

Printed in Canada
Dedications
To my wife Meghan, whose love and patience makes all things
possible.
To my children Michael and Colleen, who give my life meaning.
To my parents, for teaching me to work hard and treat others
fairly.
—Richard Harrington

To Casey, for all her love and support.

To Brooke and Brian, for bringing a smile to my face every day.
—Mark Weiser

Harrington-9780240815091
This page intentionally left blank
Contents
Dedications.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
Acknowledgments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x

Introduction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Who This Book Is For.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
What You'll Learn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Our Approach.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Our Qualifications.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii

Chapter 1 Making Great Web Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The Opportunity of Web Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Web Video Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Budgeting Guidelines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Selecting and Prepping Talent.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 2 Essential Preproduction.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Determining Production Needs.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Picking an Acquisition Format. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Mapping the Production.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Essential Planning Documents.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Chapter 3 Audio Is Half Your Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

The Limitations of Web Audio. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Capturing Good Audio.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Other Audio to Acquire.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Chapter 4 Great Video Needs Great Lighting.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Lighting on a Deadline and Budget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Recommended Lighting Instruments.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

vii
viii   Contents

Chapter 5 Videography for the Web.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Camera Considerations.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Choosing an Acquisition Format.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Camera Support Options.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Tapeless Acquisition Strategies.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Shooting for Portability.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Shooting Multicamera Productions.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Chapter 6 Telling Your Story with Visuals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Working with B-roll.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Working with Photos.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Working with Screen Captures.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Working with Speaker Support/Slides.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Motion Graphics.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Creating a Graphic Identity.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Creating Show Graphics.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 7 Editing Considerations.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

The Evolution of Nonlinear Editing.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
Technical Considerations During Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chapter 8 Encoding Video for the Web.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

The Challenge of Encoding.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Determining Delivery Format.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
Compression Tools.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Full-Featured Compression Tools.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Encoding Advice.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Section 508 Compliance.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Chapter 9 Understanding Flash Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Delivery of Flash Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Essential Flash Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Essential Tools for Creating Flash Video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
Creating a Custom Player with Flash Professional.. . . . . . . . . . . . . . . . . . . 181
Preprocessing for Video-Sharing Sites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
 Contents   ix

Chapter 10 Podcasting and RSS Essentials.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

A Clear Definition of Podcasting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
An Overview of RSS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
Developing an RSS Feed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
Anatomy of a Feed.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Programming the Feed.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Delivering Podcasts with Apple Compatibility.. . . . . . . . . . . . . . . . . . . . . . . 213
Publishing an RSS Feed.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Chapter 11 Hosting Web Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Website Requirements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Budgeting for Hosting.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Hosting Requirements.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Selected Hosting Vendors.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Chapter 12 Promoting Your Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Essential Groundwork.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239
Hyper-Syndication Strategies.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
Social Media Tools.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Additional Promotional Strategies.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Build a Relationship with Your Audience.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Chapter 13 Monetizing Your Video.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Potential Revenue Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Working with Sponsors and Advertisers.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Selling Your Content.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275
The Road Ahead.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

Index.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Companion website: www.HyperSyndicate.com

Acknowledgments
The authors would like to thank the following individuals and organizations for their
­generous contributions to this book and our web video knowledge.

Gary Adcock Ron Hansen Mark Petracca

Jim Ball Serena Herr Greg Philpott
Steve Bayes Phillip Hodgetts Chris Phrommayon
Hayden Black Scott Kelby Dave Potasznik
Richard Burns Steve Kilisky Gary-Paul Prince
Robbie Carman Todd Kopriva Carlin Reagan
Creative Cow Ben Kozuch The Staff of RHED Pixel
Bob Donlon David Lawrence Scott Sheppard
Emmanuel Etim Logan Leabo Doug Smith
Mannie Frances Ron Lindebloom Kristopher Smith
Michelle Galina Dennis McGonnagle Sound Mind & Body Gym
Eric Garulay Stephen Menick Douglas Spotted Eagle
Barbara Gavin Dominic Milano Paul Temme
Alexandra Gebhart Patricia Montesion Jason Van Orden
Lee Gibbons David Moser Paul Vogelzang
Matt Gottshalk  ational Foundation for
N Terry White
Jeff Greenberg Credit Counseling Tim Wilson
Ray Ortega

x
Introduction

Who This Book Is For

This book is written for those who need to create professional-
quality web video or podcasts. We set out to write a book that
would offer expert-level advice on all aspects of web video. We
realize most of you reading this will have diverse backgrounds, so
we will attempt to deliver information at two levels.
The body of the book presents you with the most essen-
tial information, richly illustrated, with straightforward advice.
Interspersed throughout the book you'll find several tips and
sidebars. This information serves two purposes. It either offers
advanced information to let you go deeper on a topic or points
out additional resources if you lack experience with a topic.
Whether you are a video enthusiast, a multimedia devel-
oper, or a communications professional, this guide is written to
help you. We wanted to create a book that addressed the diverse
requirements of web video. We also wanted to straighten out sev-
eral misperceptions and bad practices that we have encountered.
If you like your books to be based on real-world experience, this
is the book for you.

What You'll Learn

We have structured this book to follow the path of profession-
ally produced web video. We highly recommend that you read this
book's chapters in order. We will build on the information from
one chapter to the next. Here's the journey we'll take together.

The Evolution of Web Video

Chapter 1: Making Great Web Video—Learn how to determine
your genre and technical approach. You'll also get a sense on the
size of the web video audience and business opportunities.

The Production of Web Video

Chapter 2: Essential Preproduction—This chapter covers
important decisions about determining your production needs as
well as budgeting your show. Learn practical advice for mapping
your production and working with talent.
Chapter 3: Audio Is Half Your Program—Learn how to record
great sound for your web video. We also explore options for using
music in web productions.
xi
xii   Introduction

Chapter 4: Great Video Needs Great Lighting—Learn how

to achieve professional lighting with an emphasis on value and
portability. We also provide setups for different styles of video
programs.
Chapter 5: Videography for the Web—Learn the key ­features
you'll need in a video camera. We pay close attention to the
­evolution of tapeless acquisition and HD video. We also offer a
specific packing list to help you bring the most important gear to
your web video shoot.

The Postproduction of Web Video

Chapter 6: Telling Your Story with Visuals—This chapter
points out useful ways to add visuals to your story. Learn how to
work with photos and stock footage as well as practical tips for
motion graphics.
Chapter 7: Editing Considerations—Putting all of your pieces
together takes skill and experience. We share several lessons
learned from having produced thousands of web videos.
Chapter 8: Encoding Video for the Web—Learn how to create
compatible digital files that will work for a podcast, in a web browser,
or on portable media players. Achieve smaller file sizes and better
image clarity with our practical advice on video compression.

The Delivery of Web Video

Chapter 9: Understanding Flash Video—We take an in-depth
look at one of the most popular methods for delivering video.
Learn about your options when working with the Flash platform.
Chapter 10: Podcasting and RSS Essentials—Learn how
to deliver a podcast with an RSS feed to list its contents. Search
engines and podcast directories require this information in order
to list your show. Learn what goes into the podcast feed and easy
ways to create a compatible podcast.
Chapter 11: Hosting Web Video—This chapter explores
­several options for hosting your web video files. Learn your
options for delivering your files and ways to minimize expensive
hosting charges.

The Business of Web Video

Chapter 12: Promoting Your Video—We visit with numer-
ous web video producers and share their secrets for successfully
attracting (and keeping) an audience.
Chapter 13: Monetizing Your Video—Creating professional
web video requires time and effort. In this chapter we explore
options for recouping your investment.
 Introduction   xiii

The Icons Used in This Book

Gear Up—Recommendations for gear that makes the job
easier or adds quality to the final production.

Further Reading—Recommended books or resources that

let you explore a topic in greater depth.

Web Link—External websites that offer additional resources

or information.

Noteworthy—Learn important “gotchas” or pitfalls that

can put your production at risk.

Technical Tip—How-tos or important advice on how to get

the job done.

Our Approach
Our advice is practical. We don't teach you how to cheat. We
don't treat you like you are “dummies.” Our productions vary;
we've done work for Fortune 50 companies as well as small
­nonprofit associations. We have been in front of the camera as
well as behind it. We teach you how to produce web videos that
look professional while being keenly aware that web videos are a
price-sensitive commodity.
We will offer you multiple approaches that address both
­high-end and budget-conscious workflows. We are fully cross-
platform and use Macs and PCs in our daily lives. We also use
tools and gear from a variety of manufacturers. We'll offer our
opinions but feel that they are well formed. We'll also offer
options and differing points of view, as we know that you'll want
choices.

Our Qualifications
At the time of this publication, our company, RHED Pixel
(www.RHEDPixel.com), will have produced close to 5,000 web
videos. We've developed web video for companies like Microsoft,
Apple, Adobe, and Google. We've also worked with everyone
from educators to professional speakers to fundraisers. We've
produced web videos on a variety of topics, software training,
emerging technology, digital photography, health, parenting, and
science.
xiv   Introduction

We have spent five years refining this book. Rather than

rush this book out the door, we have refined our workflows and
­opinions. The material in this book has been thoroughly tested.
We have learned from years of video production and from
­working on so many web videos. We live video and new media
production every workday, and the advice you'll find in this
book is how we get the job done. We'd like to think you'll find the
book useful. We believe in karma. We take the hard lessons we've
learned and offer them back to the industry as a whole.
We hope you enjoy and we invite you to become part of the
conversation by joining us at www.HyperSyndicate.com.
Making Great Web Video
1
We know why you picked this book up. You want (or have been
asked) to make great web video. You want your video to connect
with an audience and be seen. You want to entertain or inform.
You want to raise awareness for a cause or recruit customers to
your business. Your goals are diverse and complex, but they are
attainable.

Our recipe for quality video includes four stages and an

optional goal:
• Plan. A lack of planning leads to an abundance of failure.
Whether you’re spending real dollars or just time and effort,
there is no excuse to skip planning. While “dumb luck” exists,
successful planning is more likely to bring results.
• Produce. We’ll tackle how to achieve high-quality results using
both professional and consumer equipment. We’re sure to ref-
erence tools at various price points (including free and do-it-
yourself options). But we’ve never met a successful carpenter
who hasn’t reinvested in some good tools along the way.
• Distribute. There are many ways to publish video to the web.
We’ll explore how to successfully prepare your files for the net.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
1
2   Chapter 1  Making Great Web Video

We’ll also address important options like podcasting, hyper-

syndication, video sharing, and mobile video.
• Promote. If you don’t make some noise, you won’t be heard.
We’ll discuss formalized and guerilla promotion strategies.
We’ve also got some great advice from some top web video
producers who share their secrets.
• Monetize. The monetization strategies we offer are practical
ways to earn money from your program. We’ll examine differ-
ent models from sponsorship to selling products and services.
This chapter is optional, but we’ll share practical advice to
turn your efforts into dollars.

One of the programs we’ll explore in this book is MommyCast (www.MommyCast

.com). The show reaches millions of viewers and is distributed as a podcast, on
YouTube, on Facebook, and even TiVo.

This book is written for those who need to create professional-

level web video. We realize that the word professional has dif-
ferent meanings to different people, so let us be clear. You have
a financial stake in the outcome. This may be an investment in
your time, your company’s brand, actual dollars from a client,
 Chapter 1  Making Great Web Video    3

or a complex web of needs and expectations. You don’t just want

results—you need them. A Dose of Reality
Whether you are a video pro, a multimedia developer, or a com- We have spent
munications professional, this guide is written to help you. We four years
wanted to create a book that addressed the diverse requirements of developing the
web video. We also wanted to straighten out several misperceptions content of this book.
and bad practices that we have encountered. If you like your books We’ve also been
publishing video to the
to be based on real-world experience, this is the book for you.
web since 1996. These
ideas are time tested and
put in practice every day.
The Opportunity of Web Video Rather than rush this book
out the door, we have
refined our workflows and
opinions. We live video
and new media
production every workday;
the advice you’ll find in
this book is how we get
the job done.

The Pew Internet &

American Life Project
Our principal
There’s a lot going on with web video in recent years. Technology source is of
information is the
has continued to improve at a rapid pace. This has enabled both the
Pew Internet Project, which
growth of new audiences and new opportunities as well as the abil-
is an initiative of the Pew
ity to deliver a better-looking product to these audiences. Research Center, a
Many of the industry’s largest television networks and video nonprofit, nonpartisan
producers have also embraced web video as an opportunity to “fact tank.” This group
create additional revenue streams for their content. This new provides information on
market is rapidly expanding, and it’s one that most believe encap- the issues, attitudes, and
sulates the best opportunity to bring video to consumers. trends shaping America
In this section, we’re going to explore some recent research and the world. The project
about the state of web video and broadband Internet. Where studies the social impact of
possible, we’re limiting our sources to only the most credible of the Internet and shares its
findings at www.
government and nonprofit research groups to present a fair and
pewinternet.org.
balanced overview of the state of web video.

The Growth of Broadband Internet

While web video and podcasting do not require broad-
band access, they certainly thrive with high-speed connections.
The Pew Research Center found that nine in ten consumers of
online video have broadband at home. In fact, 76% of those with
4   Chapter 1  Making Great Web Video

­ roadband access watch video at home. Those that want video

b
want it fast. But just how many people have broadband Internet?
The exact numbers vary greatly over the world. Let’s first take a
look at the United States, and then we’ll broaden our view globally.
The U.S. Federal Communications Commission reported in 2010
that 78% of adults in the United States are Internet users and 65%
of adults have home broadband access. The Pew Research Center
had similar findings for 2010 and estimated that 63% of American
adults now have high-speed connections into their homes.
Here’s a look at the state of global connections:

Top 10 Countries by Number of Internet Users

Population
Rank Country Internet Users Percentage
 1 China 420,000,000 31.80%
 2 United States 234,372,000 76.30%
 3 Japan 95,979,000 75.50%
 4 India 81,000,000   7.00%
 5 Brazil 72,027,700 36.20%
 6 Germany 61,973,100 75.30%
 7 United Kingdom 46,683,900 76.40%
 8 Russia 45,250,000 32.30%
 9 France 43,100,134 69.30%
10 South Korea 37,475,800 77.30%
From www.internetworldstats.com/stats.htm.

Top 10 Countries by Percentage of Internet Users

Population
Rank Country Internet Users Percentage
 1 Iceland 285,700 93.20%
 2 Norway 4,235,800 90.90%
 3 Greenland   52,000 90.30%
 4 Sweden 8,085,500 89.20%
 5 Netherlands 14,304,600 85.60%
 6 Denmark 4,629,600 84.20%
 7 Finland 4,382,700 83.50%
 8 New Zealand 3,500,000 83.10%
 9 Australia 17,033,826 80.10%
10 Luxembourg   387,000 78.70%
From www.internetworldstats.com/stats.htm.
 Chapter 1  Making Great Web Video    5

World Internet Users and Population Stats

This is a file from the Wikimedia Commons.

The Growth of Internet Video

The growth of broadband video has had an impact on the
viewing habits of its users. The Pew Internet & American Life
Project found that in the year 2010, 69% of online adults have
used the Internet to watch or download video. This total repre-
sents 52% of all adults in the United States.
Improvements in wireless connection are only boosting these
numbers. Pew finds that “Fully 71% of those with wireless con-
nectivity watch videos on video sharing sites compared with just The Fast Pace of
38% of those who do not access the Internet wirelessly.” Broadband Adoption
This is also spilling into mobile phones and portable media
Broadband
players with both Internet connections and mobile publishing Internet access has
hit the 50%
adoption milestone faster
than most other consumer
technologies. It has taken
about 10 years for
broadband to reach 50%
of adults in their homes.
For example, it took 18
years for color TV to reach
50% of Americans, 18
years for the personal
computer, 15 years for the
cell phone, 14 years for
the videocassette recorder,
and 10.5 years for the
compact disc player.
Devices like the Apple iPhone are helping broaden the reach of web video.
6   Chapter 1  Making Great Web Video

capabilities. Approximately 14% of cell phone users have watched

The State of Online video on their phone. Most interesting is the fact that cell phone
Video
users are more likely to record video on their cell phones than
For full details on watch it; 19% of cell phone users say they’ve recorded video with
these statistics, be their phone.
sure to read the In an earlier (2007) report, the Pew Research Center found that
Pew Research Center’s “half of online video viewers (57%) share links to the video they
report – The State of
find with others, and three in four (75%) say they receive links to
Online Video. It’s
watch video that others have sent to them.” These trends bode
available at www
.pewinternet.org/ well for web video producers. If you produce high-quality video
Reports/2010/State-of- that is on target, your audience will share it with others. This type
Online-Video for free. of growth is often referred to as viral, and it works well online.
Success can come much quicker than through other media out-
lets, and at a lower cost because traditional advertising often has
It’s a Competitive little to do with viral growth.
World
One in seven adult
Internet users (14%) The Involvement of Big Business
have uploaded a Web video is a part of traditional media’s plan to stay relevant.
video to the Internet. This
Television networks in particular realize they need to move their
means you have a lot more
video content to the web, enabling both space shifting and time
competition that you used
to. There’s no room for shifting. The challenge here is that many of these traditional
sloppy planning or poor
production—you’ll just get
swept under the wave of
“user-generated excrement.”

Image courtesy Hulu

 Chapter 1  Making Great Web Video    7

c­ ontent generators hold onto their old ways of thinking. While

these studios would benefit from podcasting and online video,
many want greater control over their digital files through the use
of digital rights management (DRM) technology.
Motorola found that 45% of European broadband users watch
at least some television online. The percentage was as high as
59% in Spain and France (it currently stands at 32% in the United
States). The Pew Research group has found that 7% of all Internet
users in 2010 have paid to watch or download a video. That num-
ber was only 4% in 2007, so that’s steady growth where dollars are
concerned.
The biggest change though has been the use of video-­sharing
sites like YouTube, Facebook, and Vimeo. These sites gather video
together and make it easy to search content and share with oth-
ers. The percentage of adult Internet users who watch video on
these sites has grown from 33% in December 2006 to 61% in
2010.
All sorts of business models are being tested, from subscrip-
tion content, to sponsorship, to selling related content. What
has been a constant struggle is the goal to embrace nonintrusive
advertising or monetization strategies that are highly targeted to
the viewer. What will continue to be a struggle will be meeting the
demands of consumers while generating revenue for the content
creators.

Web Video Development

Now that you understand the size of the audience, as well as Many feel that the Apple iPad
some of their habits, you can start to develop (or refine) your is changing the landscape
web video ideas. It all starts with a concept, the essential nug- for mobile and personal video
get of an idea that is your approach. You then need to determine consumption. Services like
the best genre or style of production that will connect with your Hulu and Netflix are serving up
audience. Once you’ve refined the idea, you’ll need to examine premium subscription content
your technical approach. We find that a guid- to viewers.
ing principle is how can we do as much as
possible with as little as possible.
Once you know what you want to do and
how you’re going to do it, you’ll need to commu­
nicate with others. Writing a treatment allows
you to share your ideas with others. The same
goes for a video or series description, which will
become a critical creative and marketing tool.
When it comes time to kick off a web video
project, you’ll want to gather all the key ­players
into a creative development session. This may
be a face-to-face meeting or an online forum.
8   Chapter 1  Making Great Web Video

Everyone should come together to brainstorm the most effective

approach for the project. Just make sure you set an agenda and
clearly invite folks.

Developing a Concept
A key step in your show’s preproduction is creative development.
The show’s concept needs to be developed, beaten up, chewed up,
Directories like Apple iTunes let and then spit out. Chances are your original ideas and assumptions
you analyze your competition will be a lot stronger after you put them through a creative wringer.
and see how they stack up
Here are a few things we’ve learned in developing new shows:
against each other with
ranking charts.

• Don’t try to reinvent what already exists. You need to closely

examine what’s already in the web video universe. Don’t waste
your time developing a concept that is identical to a hit show.
After all, it’s a rare day when the clone surpasses the original.
With that said, don’t give up on your idea, refine it.
• Figure out what you can do differently. If your competition
offers long shows, offer shorter shows to appeal to those on the
go. If your competition comes out monthly, come out weekly.
If the competition takes a serious approach, look at humor.
In other words, don’t change the subject, but do change the
delivery. In broadcasting, it’s called counter-programming and
the concept holds true here as well.
 Chapter 1  Making Great Web Video    9

• Decide whom you want to attract. Web video and podcast-

ing are niche media. Going after a smaller, targeted group
is what it’s all about. You need to think long and hard about
whom you want to reach. By refining your target audi-
ence, you stand a much better chance of appealing to them
and capturing them as viewers and subscribers. That’s
not to say you want black-haired, blue-eyed, left-handed,
27-year-old chemical engineers. But a video that goes after
engineers of all types would probably fail just as badly.
What’s important here is that you identify a specific group
with specific interests, then develop content that fits their
needs.
• Make sure your visuals matter. Could your web video be
delivered as an audio-only podcast? If so, don’t create a video
just to make a video. Producing web video is more expen-
sive than audio podcasting. Make sure you're leveraging the
strengths of the medium to justify the cost (and download
time).

The Five Ws
Although it may seem a little cliché, another way to refine your show’s concept is to ask the standard who, what,
where, when, and why questions:
• Who? Who is going to watch the show? Who is going to host the show?
• What? What topics will the show cover? What genre or format will it use?
• Where? Where will the show be recorded? A studio? On location?
• When? When will the show come out? Daily? Weekly? Monthly?
• Why? Why would a viewer subscribe to the show? Why would that viewer come back for another episode?
10   Chapter 1  Making Great Web Video

Developing a Genre
When you go into a major bookstore, you’ll find that books are
typically sorted by genre. All books of a particular category (such
as mystery, history, or technology) are grouped together for sale.
This practice makes it easier for consumers to find what they
want. The same holds true for online video.
The Pew Research Center found substantial growth from 2007
Does Age Matter? to 2010 in all online video. These three genres saw the biggest
For a great growth:
breakdown of • Comedy or humorous videos, which have risen in viewership
viewing habits by from 31% to 50% of adult Internet users.
age demographics, see • Educational videos, which have risen in viewership from 22%
http://tinyurl.com/ to 38% of adult Internet users.
pewagereport. This will • Political videos, which have risen in viewership from 15% to
help you target a specific
30% of adult Internet users.
group more efficiently.
Here’s the breakdown by genre:

Source: www.pewinternet
.org/Reports/2010/State-
of-Online-Video/Part-1/
What-Kinds-of-Video-Are-
Online-Adults-Watching
.aspx?r=1.
 Chapter 1  Making Great Web Video    11

Determining a Technical Approach

Once you’ve refined your topic, genre, and target, you need to
make some initial decisions about how you’re going to produce
your show. Different styles of production can greatly impact the
cost of your project. Be sure you identify how the web video will
be produced. Using a studio can drive costs down as it adds an
element of control to the production process. On the other hand,
a screencast style of production for technical training often just
features the voice of the talent and a capture of what they were The same studio space, but two
doing on their computer. very different shows. MommyCast
records new episodes every few
Be sure to pick the best format to capture the visuals in your
weeks, whereas Understanding
show that your budget can afford. Think about the big picture Adobe Photoshop records a year’s
here, the major decisions that will shape how you will execute worth of episodes in a few days
your show. time. Both shows are recorded at
720p at 24 frames per second.

• Production frequency. How often are you going to record

new episodes? We personally favor shooting multiple vid-
eos at a time. Many of the web video series we work on only
record a few times a year (some even go for a solid week and
record a year’s worth in a single period). This type of produc-
tion is more cost efficient, but it makes it harder to be timely
and react to outside events, viewer feedback, and sponsor’s Which HD Is the
requests. You’ll need to balance your production schedule Right HD?
with the needs of the content and your budget.
We typically
• Acquisition size. There’s been a rush for high-definition (HD) acquire shows in
video for the web. This is because many consumers are view- 720p HD (a frame
ing web video on televisions and large computer monitors. Of size of 1280 × 720) at 24
course, the practice of mobile video on smart phones and por- frames per second (the
table media players is booming too. same as film). We find this
• Delivery methods. You need to consider your primary and to be a great balance of
secondary delivery methods. A show that relies on downloads image quality and cost. The
(such as a podcast or digital purchase) will be expected to progressive frames can also
have a higher image quality and data rate. On the other hand, be cleanly scaled to smaller
sizes for portable players.
you may be streaming the video off free video sharing sites,
12   Chapter 1  Making Great Web Video

which will compress the picture heavily. The delivery method

The LCD Test will impact the shooting style, sets, graphics, and even pace of
We believe in the editing that you’ll choose.
least common • Audience capabilities. You need to make some assumptions
denominator test. about the members of your audience. Will they view your show
That is to say that the video on portable media players, laptops, or set-top boxes? Do they
must look good at a want faster download or streaming times, or are they willing
connection speed and on a
to wait for a high-definition episode to download? You need to
playback device that we
give careful thought to how your show will be consumed if you
consider to be the low-end
of our target. Currently, this want to avoid alienating prospective viewers.
threshold is video streaming
over the YouTube player to
an iPhone (using the slower Writing a Treatment
Edge connection). We’ll The treatment is considered a standard part of the develop-
post test shots and graphics ment cycle for most film and television productions. The truth
throughout the development is that all kinds of video producers can benefit from creating a
process to check how the treatment. The goal is to write a single document that defines
video looks and sounds. If it
the video’s concept and summarizes the creating approach to be
looks good there, it’ll look
taken. The best part of making a treatment is that is formalizes
even better everywhere else.
the ­creative process for the producer. The major benefit here is
that the document can then be shared with others as you work
with other creative professionals, get approval from a client, or
even seek funding or approval.
We recommend the following approach to developing a treatment:
1. Define the goals and set parameters. What core message are
you trying to convey? Who do you want to watch the video?
What desired outcome would you like to create (volunteer-
ing, purchases, political change, or a good laugh)? What’s your
­budget, and how long will the video run?
Multiple Treatments 2. Identify the concept. You’ll want to be able to quickly summa-
Experienced rize the theme and objective for the video. Describe to others
producers often the core message and frame its delivery method.
force themselves to 3. Choose an approach. Now’s the time to lay out the specifics.
write multiple treatments This is generally a narrative summary of the journey the audi-
for the same project. This ence is going to take. In a way, it might resemble a book report
creative refinement you wrote in school—a clear summary that reveals all of the
process often forces the important details that will be presented to the viewer. Describe
best ideas to the top. Plus, specifics that will elicit response by the audience including
it gives you extra options music choice, shooting style, and editing approach. Describe
when a client or boss
the emotions you will solicit along the journey and how the
doesn’t like your first idea.
audience will feel at the journey’s end.
 Chapter 1  Making Great Web Video    13

Essential Questions to Ask at the Beginning

of a Project

Through the years, we’ve learned a lot of lessons the hard way. Although every project is unique, it often seems that
the problems remain the same. Here are a few questions we always encourage asking at the start of any video project:
• Who is our customer? Projects often have many parties involved. Be sure that you know whom you’re responsible
to keep happy.
• What is the purpose? You need to know what the video is trying to accomplish.
• How will we measure success? Determine which factors will be used to judge the success of the project.
• What do we want to say? Identify the goal of the piece and the message that the audience should walk away with.
• What resources do we have? Decide who will be assigned to the project. Establish if any assets or resources are
available to the project that should be utilized. Make sure no assumptions are being made about what you have to
work with.
• What is the budget? Never discuss approach without having an idea of your financial constraints. Creative types
often get swept up into big ideas without knowing what the project can support.
• What are the deadlines? Equally as important as budget is schedule. You need to understand any major
milestones so you can schedule work and adjust your approach to match the available time.
• Are there any customer requirements? Never make assumptions. It’s always a good idea to ask the clients if
they have any specific needs or requirements for the end product. You’ll often be surprised how important details
can go unspoken until the very end of the project.
14   Chapter 1  Making Great Web Video

Writing a Video or Show Description

Hayden Black runs Evil

Global Corporation (www
.evilglobalcorporation.com),
which produces some of the
most original web series. The
corporate site offers detailed
and humorous descriptions of
shows in development.

Let’s take another page from the rulebook of television and

film. Create a compelling description for your video or show.
If you were a television show, this would be the write-up for the
Shot Ratio Matters entertainment press. If it were a movie, you’ve just written the
label for the back of the DVD.
Between DV tape
and FireWire hard The goal here is to capture the spirit of the web series or indi-
drives, the concept vidual video. You’ll need to convey to others in a short time frame
of shot ratio seems to have what the project is all about. Many call this an “elevator speech,”
gotten lost. With web as it should be able to be presented (and understood) in less than
video, your shot ratio 60 seconds. When done correctly, this document can also be used
matters. Shot ratio is how for early promotional efforts during the development of the video.
much footage is acquired
versus what’s used in the
finished cut. For example, Budgeting Guidelines
if you shot 60 minutes of If you’re looking for a pot of gold, you’re chasing the wrong
material and used 20
leprechaun. Web video budgets are not the same as feature films
minutes, that would be a
3:1 shot ratio. If your shot
ratio creeps above 4:1,
you need to closely
examine your shooting
and production style. The
only exception is
multicamera-style
productions. In this case,
just count how much
footage was used from the
most utilized camera to
produce the finished piece.
 Chapter 1  Making Great Web Video    15

or commercial spots. With web video and podcasting, the key to

making money is efficiency. Figuring out how to do more with
less is the guiding principle. In this section, we explore practices
that affect the bottom line.

Don’t Make Assumptions

With web video, you need your shoots to run smoothly and
efficiently. You will not be able to get the most out of your shoots
if you’ve based your preproduction on bad information. You really
want to know the goal of the shoot, the objectives of the shoot,
how many episodes you are trying to accomplish, and that the
client, the talent, and the director have the same expectations. We
have found that we can record more than 25 episodes in a day if
we plan properly and the talent is prepared. The bottom line here
is efficiency. Be efficient, have a plan, and execute the plan with
the minimum number of resources, and you’ll do all right.

Estimating Time
There is a formula that many project managers use that comes
from working with the federal government. It’s a conservative
formula that helps estimate the time it will take for a task in a
project:
((1 * O) + (4 * M) + (1* P)) ÷ 6
That’s one times an optimistic work estimate, plus four times a
most likely estimate, plus one times a pessimistic estimate, then
divided by 6.
Here’s how it works. Go to a member of your project team
who’s going to work on the task (such as the editor) and say, “So,
how long would this take?” Note, this is not the most likely num-
ber. This is the optimistic number, because if you ask any creative
person how long something is going to take, it’s an exaggerated
number based on the person’s ego and personal self-worth. This
time estimate is always off (this is not a slam on creative types, it
is just true).
Then you ask, “Well, if it were anybody else doing the work,
how long would it take?” This is the most likely number.
Next you ask, “If things went wrong that we really didn’t count
on—computer problems, bad communication—what’s a bad-
case scenario?”
Then you do the math: one times the optimistic work esti-
mate, plus four times the most likely estimate, plus one times
the pessimistic, divided by 6. This gives you a more accurate time
estimate for the work at hand. You can increase the accuracy by
surveying other subject-matter experts (such as all the editors in
your office).
16   Chapter 1  Making Great Web Video

This is how the government does averaging, but you have to

do it at the major task level. By getting the subject-matter experts
involved, you are more likely to get accurate numbers about the
work to be performed.

Keep It Short
Here’s a simple idea: Keep your web videos short. It is better to
have ten 4-minute episodes than one 40-minute episode. We try
to keep our web videos to less than 10 minutes (in fact, they are
less than 5 minutes long in almost all cases).
Web videos tend to be consumed during things like work
breaks, downtime, and airplane flights. Others will use them during
commutes on the morning train or the subway. Think of web video
and podcasts as portable, on-demand learning or entertainment.
Remember that your audience
is often watching web video
on portable media players with
small screens. Be sure to keep
the total run time low to avoid
viewer fatigue.

In the training videos we produce, we try to limit topics to one

per episode. And if a single topic takes more than 10 minutes to
Giving Credit explain, then we’ll split the video into two or three parts. This
way, the viewer can download part 1 and start watching it while
We try to put our
production
waiting for the rest to download or be released. There’s nothing
company end slate wrong with multiple parts. That’s the whole concept of serializ-
whenever possible on web ing a web video into an actual series that builds up a subscription
videos we produce (you see and viewership base.
these graphics at the end of
TV shows and the start of
movies). If we can’t get an
Keep It Simple
end slate, we insist on Most web videos are unlikely to have huge budgets. It’s a good
getting a name credit in the idea to design your video using the principles of Electronic News
show’s credits. This should Gathering (also known as Electronic Field Production, or EFP).
be a prominent credit like The guiding principles here are speed and agility in acquiring
“Production services by.” the footage as well as swiftness in editing. The primary concern
Whenever possible, get is getting the material to the audience in a timely fashion. News-
your name, your production style production is known for its efficiency, yet it retains pro-
company name, or your duction values that are perfectly acceptable to most television
organization’s name in the
viewers. You should strongly consider adopting this approach
end credits.
when planning your shoots.
 Chapter 1  Making Great Web Video    17

Selecting and Prepping Talent Don’t Share Line-Item

Budgets
The good news is that web video is fairly democratic in nature.
Web video audiences seem to prefer “regular” people as opposed Although using a
to Barbie and Ken dolls, which often plague the traditional broad- line-item budget is
casts. If you browse the top podcasts in each category on iTunes essential to
or look at well-performing series on YouTube, you’ll find a large creating an accurate
assortment of “nonprofessional” talent and hosts. budget, we try hard not to
share these outside the
company. We do not give
clients line-item budgets
because it often leads to
unnecessary quibbling.
Instead, we “roll” the
budgets up. Identifying the
major work packages to
be performed and the total
cost per category (such as
preproduction, production,
and postproduction). For
example, we say, “The
production budget is
$2,500 and it includes a
camera operator with
camera, audio engineer
with three microphones,
and director for an
8-hour day.”

Selecting good talent for a web video is perhaps the most

important thing you can do. It involves finding someone who can
connect with the target audience and deliver a message while
keeping the audience entertained or interested. When it comes
time to find your host or actors, you may have to look in several
places.

Casting Talent
If you can afford it, then you can hire professional actors for
your production. The benefit here is that people are paid to be
professional. This means you stand a better chance that your
actors will show up on time and know their lines (Note we said
better chance—not a guarantee.).
You can use a casting agency in your area to help recruit tal-
ent. Agencies often keep several headshots of actors on hand.
They can also set up auditions and rehearsals for you and take
on some of the management tasks associated with recruiting
and selecting talent. Of course, these services do typically cost
money.
18   Chapter 1  Making Great Web Video

If you need a do-it-yourself approach, we recommend targeting

Background Players places with high quantities of actors. This can include school and
Roulette
community theater programs as well as local professional groups.
In many web The fees you pay will vary greatly. Some actors will belong to
videos, you’ll have the Screen Actors Guild union, which sets minimum standards
background for payment. Other actors are not affiliated with a union and
characters or extras. They will set their price based on the work to be performed and how
might be shoppers in a
broadly the video is distributed.
store, an audience for a
presentation, or volunteers
for your cause. Rarely will
you be able to afford or
Recruiting Talent
recruit enough. Be sure the Most web video producers will find their talent through
extras you do bring have recruitment. They may call in favors or make an announce-
a few clothing outfits. By ment through the sponsoring organization for people to appear
swapping clothes and in supporting roles. Others will also post ads to locations such
changing their as Craigslist to raise awareness. Chances are, if you’re going this
appearance, you can route you have little or no pay to offer.
often mix and match talent
Here are a few guidelines to ensure best results:
to create some variety. For
• Be clear on the compensation. Don’t be vague about what you
example, when an extra’s
back is to the camera, will or won’t pay. No one likes their time wasted with vague
have him or her wear one promises of compensation. If all you’re offering is a meal and
set of clothes; when it is experience, say so.
time to play a more • Offer something of value in return. If you don’t have cash to offer,
prominent role, have the give something back to your talent. It might be services traded
extra switch clothing. (your time for theirs). If you’re working with up-and-coming
actors, be sure to offer copies of the final production. You may also
be able to take a few additional photos or headshots while on set.
• Be clear on expectations and time commitment. Make sure
people know what they are committing to. Be clear on just
how long you expect to need them. Do your best to avoid slip-
ping of schedule, and remember that time really is money.

Working with Clients

One of our core competencies is producing videos for others.
We’ve been trusted with top corporate brands and major non-
profit associations. In these cases, we often find ourselves work-
ing with the leadership of these corporations. There’s no better
way to lose a client than to make an executive vice president look
bad on camera.
With that in mind, here are four simple steps you can take to
improve your chances for success:
• Schedule a conference call. Try to have a short call before the
shoot. Review the objectives and schedule. Be seen as being
proactive and concerned. Encourage the client to bring a few
changes of clothes to the shoot.
 Chapter 1  Making Great Web Video    19

• Assure your clients that you are there to make them look
good. We try to take clients aside before shooting and dis-
cuss the role of the director—how we might ask them a
repeated question or to do another take. We’re not doing
this to be critical but to ensure they come off at their best.
This is also a good time to address makeup and wardrobe
concerns.
• Establish open communication. Make sure that the clients
know they are part of the creative process and that they should
raise their concerns and express any needs or desires about
A Little Makeup?
the production.
• Remind the crew to be professional. Clients are not your We always try
friends. They don’t want to hear your jokes or the witty rap- to get our talent
port between crewmembers. Be professional, courteous, and (especially if
focused. You’ll succeed if you remember to act more like a they’re clients) to
allow for a makeup artist.
hotel’s concierge and less like its bartender.
These professionals are
charged with making your
Preparing Talent subjects look their best. If
Oftentimes, web video talent has little or no on-camera that’s too much to spend,
we still offer makeup and
experience, which is okay if you properly prepare them. Make
apply it to help smooth out
sure your talent is well rehearsed. Utilize the setup time before wrinkles and blemishes for
the shoot to do an onset rehearsal. A lot of producers make the the HD cameras. Of
mistake of having the talent come only a few minutes before course, some refuse that
the call time. While the crew is setting up, we often ask the tal- too. Digital Anarchy makes
ent to show up; then we just go have breakfast, we talk through a very cool plug-in for Final
things, and let them get all their fears and anxieties out in the Cut Pro and After Effects
open. called Beauty Box, which is
Before the shoot, be sure to share the treatment, script, or essentially virtual makeup.
other relevant materials. Make sure that those you cast are part It can be applied after the
of the creative process. Share your treatment or script so all can fact to smooth out the skin
(without making the eyes or
prepare. This will ensure a smoother shoot and give all involved a
mouth look weird).
sense of belonging.
20   Chapter 1  Making Great Web Video

On-Camera Considerations

We share the following list with all clients and on-camera interview subjects to help them prepare. You may need to
adapt this list to your specific needs or style of production.
• Please bring at least one alternate set of clothing.
• Herringbone, stripes, or small patterns do not look good on camera.
• Keep your jewelry simple.
• Please do not wear bright white. Cream, eggshell, or a light gray is preferred.
• We will offer you stage makeup when you arrive. This is to help you look and feel your best. You can choose not
to wear it, but all the top network folks do (even the guys).
• Please avoid enumeration or the phrase “Like I said before.” It is likely that we may only use an excerpt of your
quote (and counting just confuses the audience).
• Don’t be afraid to stop and start over. If you feel uncomfortable or would like a moment to gather your thoughts,
please take your time.
• Relax. We’re here to help you. We want you to look and sound your best.
 Chapter 1  Making Great Web Video    21

PROfile: Evil Global Corp.

One of the most successful and creative forces in web video is Show’ and a lot of originality—that’s Goodnight Burbank,
Hayden Black and his Evil Global Corp (www a fictional 11 O'Clock newscast delivered straight from
.evilglobalcorporation.com). The Los Angeles-based Hollywood’s backyard.”
independent production company creates original new media Black shares his creative process. He says it takes a lot of
as well as promotions for television and film. thought and development to come up with crazy ideas that
actually work.
“I do a lot of walking and spend a couple hours a day just
thinking. If I laugh, I know I'm on to a good thing,” said Black.
“The trick is not to rush it. Let it stew and marinate. If it’s a
good idea it will get better and better. If it isn’t, you move on to
the next one.”
Goodnight Burbank has become quite the success with
millions of views both online and on mobile platforms. USA
Today stated that it is “Funny…Well done. It’s a lot better than
99% of the stuff on TV.” In fact, the show is even in talks for
re-airing its content on television.
It’s this quality that lets Black work with top actors in the
industry. His latest series, The Cabonauts, is described as
“a sci-fi musical comedy starring all your sci-fi favorites in brand
new roles—and singing and dancing as well. Think Hitchhiker ’s
Guide meets Glee, and you’re halfway there.” The show features
Since 2006, Black and his team have launched shows with actors who’ve appeared in Star Trek, Dollhouse, Buffy the
strong followings. Their first show was Goodnight Burbank Vampire Slayer, and Buck Rogers in the 25th Century.
and two spinoff programs—Goodnight Burbank: Breaking Black emphasized the need to approach web video with
News and Goodnight Burbank: Hollywood Report. The show the same drive for quality as other outlets. When asked for the
describes itself as “a little ’The Office’, a little ’The Daily ingredients for a successful web video, he responded:
22   Chapter 1  Making Great Web Video

fictitious (and unusual) teenager. He also launched The

Occulterers, a comedy horror series about a group of
dysfunctional ghost hunters.
“I have ideas. Sometimes I remember to write them down.
Sometimes I develop them further. When writing a script,
I often begin by over-thinking the whole thing and making them
far more complex than I need to,” said Black “I wrote the
Occulterers in a few days, which was the most liberating thing
I’ve ever done; just spewed stuff onto the page and then shot
it a few days later.”

“First, great writing. This includes having an original idea

and a unique voice with which to write with. Second is great
actors, and third a great crew. Pretty much the same ingredients
for a successful TV series or movie. Nothing’s really changed!”
Black emphasized the need to really focus on original ideas
if you want to succeed as a web video producer.

Learning when to greenlight an idea is a challenge. Black

shared how he knows a show is ready to produce.
“Any writer will tell you their stuff is never ready and it’s true;
you can rewrite something endlessly. The trick is that at some
point you have to divorce yourself from the rewriting process and
say ‘we’re ready to go’,” said Black.“A deadline can help with
that! We knew we wanted to launch Goodnight Burbank 2.0 in
September (of 2010) so we had to go into production in July.”
Just as important as when to launch a project is knowing
when to kill it or set it aside for awhile. Black makes sure his
shows run their natural course and go out strong (as opposed
to a whimpering death like many network programs).
“If it’s not firing properly. If it’s missing a bunch of things
and they’re not coming. You don’t have to pull the plug
completely—just put it aside and start working on something
else. You can always go back to it when you have that ‘eureka’
moment,” said Black.
The true measure of a successful career is to learn from
every idea and each production (whether a hit or a flop). Black
“Don’t go with a parody. Find something new to say. And have says that while he learns from his mistakes, he doesn’t dwell
fun,” said Black. “Initially, it’s going to be the most work you’ll ever on them. Making creative web video takes innovation and risk.
do for the least financial reward—but to see your vision come to “Would I change anything I’ve done in regards to web
life is the kind of fulfillment you rarely get to achieve." video? Sure! But I use those lessons on new projects
Those creative ideas have taken Black to many different and don’t waste time bemoaning what I’ve f*cked up on.
genres. His show, Abi’s Teen Diary followed the life of a Well, not much time.”
Essential Preproduction
2
There’s one thing we've learned in our years of making video—
without a plan, you’re likely to fail. Despite this hard reality, many
people often do everything they can to avoid preproduction. Most
creative types would rather get their hands on a video camera or
a nonlinear edit system than sit down and do paperwork, budget-
ing, or risk analysis.

We’re right there with you. We enjoy the act of creation as

well. But proper preproduction brings an increased likelihood of
financial and professional success—two things that you will need
if you'd like to survive in the world of video production. In this
chapter, we’ll focus on practical advice and techniques that are
easy to implement.
We know you want to rush into the act of creation. Think of
this as the courtship stage. You’re going to find your good idea,
make a great plan, and then achieve success.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
23
24   Chapter 2  Essential Preproduction

Determining Production Needs

The greatest challenge in creating a good web video is the
planning it takes to get the show out of the “big idea” stage and
into production. Web videos and podcast series can be amor-
phous; you’ll face several challenges as you try to pin down what
a show is about and how to pull it off.
Matters are made worse by the relatively level playing field.
After all, producing a hit show is within the reach of a first-time
podcaster or web video producer. Combine this anticipation with
the mandate to succeed that clients often demand, and you've
got a giant hairball.

The Work Breakdown Structure

Our advice is simple: divide and conquer. No, we’re not talking
about barbarian hordes or cellular reproduction. Rather we mean
good old project management. The easiest way to determine how
to produce your show is to divide it into smaller parts. We often find
that a web video series is easier to plan for when we first take the
time to identify all of the elements that are going into it.

For example, let’s take a look at a potential new video series

we are developing to teach Microsoft PowerPoint. In this case,
there are five general things an audience member will experience.
These include the following:
• A show host who keeps the viewer interested and gives the
show its personality
• The screen captures that show the software application being
used
• Show graphics that provide brand identity
• Music that helps create mood and pacing
 Chapter 2  Essential Preproduction    25

• Compelling subject matter that must be developed through

scripting or outlining
As you can see in the figure, each element needed can be fur-
ther refined into a more detailed list of ingredients or tangible
items. By continuing to identify and specify, you can eventually
develop an accurate list of requirements and items that will allow
you to develop a budget and schedule.
This process of dividing a project into smaller pieces is called
a work breakdown structure (WBS). A WBS analysis works well for
both budgeting and project planning.
Let’s revisit the food analogy. What you would do if you
had to cook a 10-course meal? How much would it cost? How
would you plan for it? The first step would be to identify what
the 10 courses were. Next you would identify the ingredients for the
10 courses. This would give you a much better idea of what
that 10-course meal would cost and how long it would take to
prepare. The work breakdown structure is relatively simple to use
and implement. We strongly recommend making it part of your
budgeting process.

Determining Proper Crew Size

For most web videos we've produced, our budgets allowed for
crews as large as five. The flip side is that we've had web videos
where we've done it all with a crew of one (and if it were ­possible,
the client would have requested a robotic camera). Our web video
crews usually include two or three media professionals (we try to
have one more crewperson than we do ­cameras on set).

A member of a three-person
crew focuses on his or
her respective tasks. Each
camera has an operator, and a
dedicated audio engineer tries
to control the audio from three
microphones in a very noisy
room for a webcast.
26   Chapter 2  Essential Preproduction

The Risks of a One-Man Band

If you try to run with a “one-man-band” approach,
you’ll likely miss critical action. Be sure to staff
appropriately for your shoots.
Thanks to shrinking budgets, we are asked to send
out one-person crews all the time. Believe us, we've
tried it (after all, you can’t say you don’t like Brussels
sprouts if you've never eaten them). What we've
found out is that it’s a terrible idea to shoot alone. So
many things can go wrong that if you’re by yourself it
is impossible to get the job done.
Consider the issues a single-person crew would
face:
• Who will watch the gear if you have to unload and
then park?
• If you do have to fly somewhere for a shoot,
excess baggage charges are often more than a
second ticket.
• During the course of a shoot, how will you
handle basic biological needs like food and
restroom breaks? Walk away and leave your gear
unattended and it will likely not be in the same
condition when you come back.
• If you blow a circuit breaker or have talent go
missing, the second crewperson can resolve the
issue.
• With a one-person crew, if that person gets sick or injured, the shoot is over.

So even if it just means hiring a warm body that’s not going to steal from you, do so. We’ll contact local grip houses,
universities, or in a pinch use Craigslist. Spend the $125 and get somebody to be a babysitter of your gear and a gopher
for the many needs that arise on set.
Our standard approach is this: We try to use a three-person crew. We send two people from our office and hire
one person locally. The local person will usually show up with things like lights and grip gear (which are affordable to
rent locally). Our crew shows up with audio and camera equipment, which we know works and we’re familiar with.

Depending on the style of video projects you normally work

on, this size crew may strike you as normal or woefully under-
staffed. What it really comes down to is having the right people
and equipment in the field. Multitalented crews are essential; you
will need individuals that are comfortable ­shooting, lighting, and
recording audio.
 Chapter 2  Essential Preproduction    27

Instead of saving money by cutting crew, try to look at other

costs. Can you save money on travel expenses? We often look for
liberal baggage policies and flexibility for schedule changes. By cut-
ting costs on travel, we can usually preserve crew size (and hence
quality and sanity). We also consider the extra time that will likely
be spent editing and fixing problem footage. Cut things too close,
and you will bleed.

Performing a Site Survey

Video professionals know the worst situa-
tion is to go into a shoot blind. If at all pos-
sible, you want to go and look at the location
you’ll be shooting in before the shoot. Ideally
this will be soon enough that you have time
to refine and adjust your plans based on what
you've seen. By visiting the locations you plan
to use during your project before the day of
shooting, you can dodge potential problems.
As you visit your potential shoot locations,
try to view them with both a technical and a
creative eye. Think about problems that may
arise and gear you’ll need. You’ll also want to look for great shoot-
ing angles and attractive locations that will improve the quality of
your video.
We bring a few key pieces of gear on our site surveys: Don’t Skip the
• Digital camera. Bring along a still or small video camera. You’ll Site Survey
want to document important information about the location.
The site survey is
You also may choose to capture shots that let you experiment
a big step toward
with camera angles and potential shooting locations. forming a shooting
• Digital audio recorder. We’ll bring an audio recorder on set to plan. You need to be
capture the sound of the location. This helps analyze poten- prepared to answer
tial sound problems. It can also be used to record discussions questions from all your
on the survey or to take notes. We find that our smart phone’s crewmembers. It’s a big
voice recorder works fine for both tasks. waste of time and money
• An Internet-connected device. Questions are going to come to just keep people
up while shooting. You may also need to look up a contact or standing around.
check project details. Remember, just doing a
• Compass and SunPath calculator. When shooting video, web search won’t cut it.
You can’t rely on second-
you’re going to deal with the sun. A compass will help you
hand reports to truly tell
keep your bearings and know if the sun is going to ruin your you what you can expect.
shot or help it. A SunPath calculator application can be loaded
on your phone and allow you to look up where (and when) the
sun will be for your shooting location.
• Circuit tester. A simple circuit tester from any hardware store
is a key item as you plan your lighting. You’ll want to know if
outlets actually work whether or not they are grounded.
28   Chapter 2  Essential Preproduction

We find LightTrac for iPad

(left) to be incredibly useful
for understanding where the
sun will be throughout an
outdoor shoot. If you’re an
iPhone or iPod Touch user,
then look at Focalware (right)
for a smaller but still useful
toolset.

Site Survey Checklist

When you visit your shooting location, try to accomplish ˛ Record room tone for analysis.
these tasks before you call it a day. ˛ Determine if you have control over the HVAC
system.
Indoor ˛ Evaluate control via scheduling time of day.
˛ Find the main power box or circuit breaker.
˛ Locate the building engineer. Logistics
˛ Examine fuses and identify maximum load for circuits. ˛ Determine where you park production vehicles.
˛ Check if wall sockets are grounded. ˛ Determine where gear will be staged.
˛ Check wall outlets with circuit testers. ˛ Identify bathrooms.
˛ Determine cable runs and the number of extension ˛ Identify food or craft services options.
cords needed. ˛ Determine if any additional permissions are needed.
˛ Determine the schedule for access to the location.
Outdoor
˛ Determine the sun path for given shoot day. Creative
˛ Identify sunrise, twilight, dusk, and sunset. ˛ Perform basic blocking of camera positions.
˛ Create a basic lighting plan.
Sound ˛ Identify the additional props needed.
˛ Listen for extraneous sounds that may be present on ˛ Document basic shooting order and schedule.
shoot day.
 Chapter 2  Essential Preproduction    29

Picking an Acquisition Format

Choosing the right acquisition format involves balancing sev-

eral factors. You need to examine the equipment you already own
and measure against the benefits of new formats. This is an issue
we explore more deeply when we look at cameras in Chapter 5.
We have encountered a lot of production companies and cli-
ents who are confused about high-definition (HD) video and the
web. There are several pros and cons to using HD for web pro-
duction, and we encourage you to consider both when you make
a decision. We say make sure that you have a compelling reason
to shoot HD.

The Benefits of HD
First, you should have some other purpose for the acquired
footage, such as it will be distributed via Apple TV, TiVo HD, or as
HD content on YouTube. It might also be that you intend to use
the video files with a traditional video project that is being shot in
high definition.
Ask yourself, does the content need to be preserved for an HD
future? In other words, is the subject matter timeless or signifi-
cant enough that there is value in spending the extra money to
ensure that the footage can be used in an HD workflow for future
projects or delivery? HD acquisition is considered “future proof,”
whereas standard definition cameras shoot legacy formats.
There is an increased demand for HD content. Many web-
sites spotlight HD content (as it’s rarer than lower-quality, user-
­generated content). There is also increased demand as many
consumers are bringing HD web video into their living rooms with
TiVo HD, Apple TV, Microsoft XBOX, and Sony PlayStation devices.
30   Chapter 2  Essential Preproduction

This professional P2 camera

from Panasonic can shoot
several flavors of HD at
progressive frame rates (which
work best for web productions).

You’ll also find that HD cameras tend to be much more flex-

ible. These cameras often shoot direct to hard drive or have
removable memory, which makes the files easier to load and edit.
The HD spec also supports progressive frame rates (such as 24p).
These frames avoid the traditional interlaced signal of older video
cameras, which makes for a cleaner image on computer moni-
tors, portable media players, and cell phones.

The Drawbacks of HD
Choosing a high-definition workflow can involve potential cost
increases. You may need to invest in additional editing equipment.
HD video needs more storage and more processing power for your
computer. Do you have an HD monitor so you can see your video
at its native size?
You’ll also find an increase in render times for video editing
and motion graphics. When you choose to encode video for the
web, you’ll likely need to make several different sizes for multiple
delivery devices. The HD video will take longer to encode here as
well.
Also, don’t forget about distribution. Are your consumers really
willing to wait up to eight times longer for the files to download?
Are you prepared to pay more to host those files?

Make the Call

We can’t tell you which method is right for your program.
We can say that we’re choosing to shoot in HD about 65% of the
time (and this number has been steadily increasing). Standard
definition acquisition is most common for our live streaming or
live-switched events. In this case, the extra resolution is often
overkill.
 Chapter 2  Essential Preproduction    31

Don’t be discouraged; just be

sure that you can afford to give
people what they want and that
they are willing to wait for that
larger size. Some producers take
the “easy” way out and offer multi-
ple sizes. Many video-­sharing sites
will even do this for you. For exam-
ple, if you upload HD video to
YouTube or Vimeo, those sites will
encode additional sizes for deliv-
ery to smaller screens or through
slower connections.

Mapping the Production

Although it may seem counterintuitive, spending money on

crew and the right equipment can save you money in the long
run. We’re not talking about a craft services table with lobster
bisque and imported beer; rather we mean having the right gear
and a multitalented crew.
The mantra of “fix it in post” should rarely be heard on a web
video set. We have found that relying on the “fix it later” philoso-
phy can consume up to three or four times the cost of taking the
time to make adjustments during field production.
The guiding principle here is that you never want to miss an
opportunity to capture content because you didn’t have the right
gear or crew. This may sound contradictory to the electronic
32   Chapter 2  Essential Preproduction

news gathering (ENG) comments made earlier, but it’s not. What
we are emphasizing is the need to balance the size of your crew
and equipment so they are fully utilized without being pushed to
the point of breaking.

Planning for Multiple Shows

For MommyCast, the hosts prepare multiple interviews for a

single day. This works best for their schedules and helps control
costs.
It’s a very good idea to determine your rollout plan early on.
Remember, podcasts and many web videos are serialized, which
means that there is some sort of plan for when they come out.
Will you release new episodes daily, weekly, monthly, bimonthly,
biweekly, on an emergency basis as needed, when inspiration
hits? Whatever the decision, it’s important that you determine
what the schedule is going to be and that the client agrees.
The frequency of release is one of the greatest impacts on
financial cost. Another way to contain costs is to shoot multiple
episodes at a time. It takes a lot of effort to get all of the gear, crew,
and talent in one location. Try to record a few episodes at a time
so you can save time and money.

Maximizing the Day

We typically build our production days around a 10-hour
schedule. This allows about 7 hours of time for shooting, and
the other 3 hours are used for setup, breaks, and teardown. The
important thing here is to pace yourself. Make sure you know
what you want to accomplish each hour you’re on set so you can
measure progress or take corrective action.
 Chapter 2  Essential Preproduction    33

A clapboard can help keep your

shots organized during a busy
shoot day. It’s also a great way
to synchronize multiple camera
angles with an audio cue.

Although we try to maximize the day, we don’t try to kill the

crew. There’s a difference:
• Make sure you have enough help to load gear in and out so
you get off to a good start. For that matter, be sure to use a
rolling cart to cut down on wear and tear on your body and
speed up moving times between locations.
• Be sure to allow time for meal breaks. Keeping people from
eating will only make them cranky and less productive. Try to
bring some snacks and drinks on the set to keep people com-
fortable and from wandering off.
• Keep the schedule reasonable. We try to not to let the client
schedule the first interview for 8 a.m. We've often had to con-
vey to the client, “If you schedule this for 8 a.m., it means we
have to leave our houses at 4:30 a.m. in order to have every-
thing set up on time.”
• We routinely have to remind clients that an eight-hour day
does not mean eight hours of interviews. We also have to point
out that it is a contiguous eight hours. You can’t ­schedule a crew

Lessons Learned
A big part of
budgeting is time
estimation—how
long will this take me to
do this? One of the best
sources of information is to
look at time records from
earlier projects. Learn from
your mistakes by looking
at your past budgets and
time logs.
34   Chapter 2  Essential Preproduction

to start at 9 a.m., then give them a five-hour break in the middle

of the day, and want them tape something that goes until 10 at
night.
• Be sure to work with your clients and gently educate them.
Sometimes we've had to say, “Yes, we can do this. But we’re
going to have two crews and we’re going to have a changeover
period here and the second crew will step onto the set and
continue into the night.” Be smart: Respect your clients and
your crew if you want the best results.

Maximizing Locations
Every time you move equipment, you will lose at least 30 minutes
(if not much more). It takes time to cool the lights down (move them
hot and the bulbs will break). You also need to gather up everything,
load it onto a cart, get to the next location, and set it all up again.

We try to design our lighting

setups before we shoot to
speed up production time.
OmniGraffle is used here to
create a diagram for the set.

You want to minimize crew movement unless it is essential.

We have four techniques for maximizing shoot time when loca-
tions are involved:
• Look for locations that can easily provide multiple shooting
opportunities. When selecting a practical location, we try for
one where small changes in the camera placement or framing
result in a new look.
• If we are creating a set, we often just change the color of the
backdrop, which can quickly result in a new look.
• If we have to move, then we try to bring one extra crewper-
son and a few lights. This person can go to the next location
and start to set up lights (usually the slowest part of moving).
• Shooting green screen is also an option. We’ll often shoot
multiple interviews on the same green screen. We’ll then go
out and shoot multiple video background plates that we can
 Chapter 2  Essential Preproduction    35

key behind the subject. Be sure you frame these shots with the
camera at the same height. You’ll also want these plates to be
slightly out of focus to create the appropriate depth of field.

Multicamera Coverage

It is becoming increasingly common to shoot web videos with

two or three cameras. This is possible because the cost of qual-
ity video cameras has plummeted in recent years. The reason for
multicamera shooting is largely to make postproduction tasks
like editing significantly easier.
Many nonlinear editing systems, including those by Adobe,
Apple, Avid, and Sony, offer multicamera editing. By shooting a web
video from multiple angles in real time, you have options during the
edit. This works especially well for subjects like concerts, theatrical Units such as this FireStore
performances, hosted interviews, and how-to demonstrations. We’ll allow for a DV camera to record
explore this style of productions in more detail throughout the book. to both tape and hard drive at
the same time. These save a lot
of time for the postproduction
Tapeless Acquisition stages of the project.
We have found that shooting direct-to-disk
can be a big timesaver. This can be as simple
as adding a special hard drive unit to your
FireWire-based camera or switching to new
formats like Sony’s XDCAM or Panasonic’s P2.
Shooting tapeless can save time on the post-
production side. It also allows for instant play-
back of a take when in the field. We often use it
as a way to quickly drop a shot into a nonlinear
editing application so we can check audio lev-
els or try a color grading or ­compositing task.
36   Chapter 2  Essential Preproduction

Essential Planning Documents

We know that you’re itching to start
shooting, so we’ll keep our comments brief.
Successful web videos rarely just happen.
You've logged a lot of hours developing, refin-
ing, and planning a production. Wouldn’t it be
a real shame if everything fell apart as soon as
you rolled cameras?
We offer some final preproduction advice.
Here are three documents you need to use for
successful web video projects. You can down-
load templates for each from the book’s web-
Documents (like this call sheet) site at www.hypersyndicate.com. The documents will save you
smooth out potential bumps time and money—two things we can all use more of.
in the road for your web video
productions.
Shot List
We highly recommend making a shot list ahead of time, as it
can serve as a checklist during the shoot. You’ll want to give some
Send the Crew
PDF Files
thought ahead of time and plan out coverage for your web video.
What supporting footage (called b-roll) do you need to tell your
We've learned the story? Do you need multiple angles to properly document your
hard way that technical demonstration?
your crew or client We generally fill this information into a spreadsheet. Using a
might not have the same
program like Microsoft Excel or Apple Numbers makes it easy to
software. Instead of
sending native Microsoft
sort and sift information based on the contents of the list. Both
Office or Apple iWork programs help keep your shot list consistent and improve the
files, send PDF files. This speed at which you can build it.
makes it easier for others
to open the documents
and can avoid any
Call Sheet
formatting errors caused The call sheet serves as both a master schedule and a con-
by missing fonts. tact list for all the cast and crew for a video production. This
single document has the most important logistical information
 Chapter 2  Essential Preproduction    37

included, such as flight or travel information, addresses for each

Shooting at Large
location, and multiple ways to contact key crew.
Events
The call sheet also offers a detailed schedule for the shoot. It’s
important to have a detailed schedule on set so you can coordi- If you are taping
nate the arrival of clients and talent. It also can assist in keeping at a large event
a project on budget because it lets the crew know how much time (such as a
is allotted for each shot or scene. concert), you’ll want to
explore inserting a general
release into the event
Release Form registration or ticket
purchase process. This
The final piece of essential paperwork is the talent release
way you don’t need to
form. It is considered a good idea to obtain a release from each worry about capturing
person who appears on camera. The form is your way of proving releases from all the
that the person appeared willingly and does not require addi- people who appear on
tional compensation. There is no such thing as a standard release camera. However, you
form, because legal requirements can vary from state to state or should still get the more
country by country. detailed release signed for
We try to avoid the all-encompassing forms that ask talent to on-camera interviews.
release all future rights to their performance. Rather we favor a We also recommend
clear release form that states how the video will be used and in posting signs at the door.
Use language like this
what context. We also point out that the talent will not have a say
to alert people that you
in how their image is used and that they will receive no additional
are taping. “By entering
compensation for their involvement. We recommend you look at this facility, you grant
the provided sample form and customize it to your needs. If you [production company
have access to a lawyer, it’s a good idea to get your release forms name] the right to film,
looked at. Once you have your forms locked in, be sure to print videotape, or photograph
out enough and load them onto a clipboard for your shoot. you at this location for any
reason without payment or
consideration.”
38   Chapter 2  Essential Preproduction

PROfile: Culture Catch

Culture Catch is a smart culture community that was launched
in July 2005. Based in New York City, the company was
founded by Richard Burns and Dusty Wright. While Culture
Catch (www.CultureCatch.com) is a well-known web video
series, the company also produces various live events that let
their members interact. There are over 1 million people that
visit the CC Website, attend its live events around the world,
download its audio and video content, and engage with the
community.
Culture Catch currently shoots two video episodes per
week. The show has conducted interviews with cultural
notables like David Lynch, Wynton Marsalis, Laura Dern,
Richard Branson, Duncan Sheik, Henry Rollins, Bob Costas, Les
Paul, Russell Simmons, Donovan, Gore Vidal, Kevin Bacon, and
many more, all of which are available on the site, or on iTunes.
Wright and Burns were drawn to podcasting after multiple different folks creating niche programming and really burning
attempts to launch similar shows via traditional broadcasting with the passion to produce it.”
avenues. Burns added that web video lets him focus more
“We got tired of all the gatekeepers in conventional media on the creative aspects of filmmaking that he enjoys so
telling us that our show ideas were too smart, or too long, or much.
expensive, or not the right fit,” said Wright. “Podcasting is so “As a filmmaker, when a project ended so did your
liberating on so many levels. It's refreshing to meet so many employment. I was spending 90% of my time looking for
 Chapter 2  Essential Preproduction    39

work or money to create films and 10% creating films, which

seemed very stupid,” said Burns. “Now I spend 75% of my
time creating and 25% on the business of podcasting. Much
better ratio for an artist.”
Podcasting and web video have become a full-time job for
both Wright and Burns. Their show, website, and events
attract enough interest and sponsorship that they can focus on
Culture Catch.
“This is my fulltime gig and I love it,” said Wright. “It has
allowed me to streamline my productions, too. I think about
our shoots like a field reporter. I carry just the bare essentials
unless we're really looking for some serious production value
and then we might bring in a third cameraperson. But normally
we look at each interview situation and determine how we
want to shoot it before we hit record.”
Culture Catch regularly shoots with two cameras. This
gives Burns more flexibility when he edits the podcasts. Both
Wright and Burns fill multiple technical and creative roles
during shoots.
“A low budget production like a podcast requires the
podcaster to wear all hats (or at least many),” said Burns. “In my
case, that's audio, video, grip, director, editor, production manager,
craft services, director of photography, make-up, etc. Thus, prepare
and accept that you'll make some really stupid mistakes.”
Wright emphasized the need to assume the worst and the greatest interviews I've ever conducted. He talked about
constantly check for problems. producing U2 and Dylan and Emmylou Harris. It makes me
“I once interviewed Daniel Lanois and didn't check my sick to think that I didn't take the extra few minutes to check
audio levels before I started the interview,” said Wright. things out.”
“I had a bad cable. I couldn't use any of it. I wasted one of Burns agreed with Wright's warning.
40   Chapter 2  Essential Preproduction

“Always check audio and picture before recording. What you're wasting your time. If you feel your niche content
you see and hear on the camera monitor isn't always what you can reach 60,000 other like-minded individuals, then go for
are recording,” said Burns. it. If you're looking to reach the masses, it's possible you
might. Grab your camera and mic and go… you'll know
soon enough if it's working or not. And if it's not, tweak it
until it is.”
“The industry needs more personal voices and experts,”
said Burns. “Make your show very personal and niche. Big
networks can't do that kind of programming. They are about
broadcasting to a wide variety of people. Podcasting is
about reaching a specific audience, owning the audience
and developing a business model that services that
audience.”

Gear List
• Two Sony 950 3-CCD Mini DV cameras
• Two Sony EL 77B lavaliere microphones
• Four EV mics (1 RE635, 1 RE50ND, 2 RE16s)
Both Wright and Burns emphasized that being passionate • Two Shure (Beta 58s) mics
is the key to succeeding at webcasting. • Three Element Labs LED lights (brilliant lights, don't get
“Dare to be different. Dare to push the creative hot, don't burn out, can use a remote to program color cor-
envelope,” said Wright. “Don't let others tell you that rection, etc.)
Audio is Half Your Program
3
You may be wondering why we start our discussion of web
video by talking about audio. That’s easy. If you have good audio,
people can still listen to your video (even if the video quality isn’t
great). On the other hand, even if you have great visuals, people
will stop watching if they can’t understand what’s being said.
Video professionals often say that audio is more than half
your picture, and that is true on many levels. If you dispute
this statement, try this: the next time you are watching TV, turn
down the audio and see how much of your favorite program you
understand. Then turn the audio up and close your eyes. You will
most likely understand much more when you can hear what is
­happening versus when you can only see what is happening.

Great productions need great

sound. Two mics are used to
capture audio in this scene, a
boom mic overhead and a lapel
microphone on the interviewee.

The Limitations of Web Audio

The problem with audio on the web is that it suffers from
a long chain-reaction effect. Web video producers often cut
­corners, such as using low-quality microphones or not hiring
a dedicated audio person. Then video editors, many who don’t
know how to use filters to improve their audio, edit the material.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
41
42   Chapter 3  Audio is Half Your Program

Of course, things get worse, because the video has to be smashed

down for web delivery. It’s common practice to throw away 99% of
the file size in order to stream video over the web. Audio, of course,
suffers. Making things worse is that people are using low-quality
speakers or even built-in speakers for playback on their comput-
ers. Although those using portable media players may have decent
headphones, they’re often watching in noise-polluted environ-
ments like public transportation, airplanes, or crowded rooms.
Seems like a recipe for failure doesn’t it? The solution is to start
with the cleanest, highest-quality audio signal you can get. Great
audio will compress well and sound significantly better under
challenging situations.

Capturing Good Audio

Recording high-quality audio is essential for web video. When
shooting video, people have a tendency to spend the entire effort
focusing on the images and leave little time or resources dedicated
to ensuring that good audio is recorded.

This is a mistake that many come to regret once they start the
editing process. Despite how good your video looks, in the end if
your audio is bad, the whole production will come off as amateur-
ish and fail to retain the viewers you worked so hard to attract.

Essential Equipment
Odds are that the camera you are using to record your web
video has a built-in microphone. Although using the onboard
camera mic works well when you are shooting run-and-gun style
 Chapter 3  Audio is Half Your Program    43

in the field, the audio quality of what

you are recording is most likely poor.
This is largely due to the quality of the
microphone and the distance of the
microphone from the audio source.
When recording web videos, you
should use one or more professional-
quality microphones. One thing you will
need to understand about professional Omnidirectional
mics is that different types of micro-
phones have different pickup patterns or
directionality. That is, the area from which
the microphone is designed to record var-
ies depending on the type of microphone
you use.
Microphones that have an “omni-
directional” pattern pick up sound Cardioid

from all ­directions, and those that are

“unidirectional” pick up sound from
a specific direction. Unidirectional
microphones are subcategorized based
on their specific pickup pattern: car-
dioid (narrow), supercardioid (very
narrow), and hypercardioid (extremely
narrow).

Hypercardiod

Lavalier
Keep a lavalier microphone within a few inches of a person’s
mouth for the best sound. A lavalier microphone (or lav) is the
small microphone you often see attached to the lapel, tie, or
blouse of news anchors. These small microphones are ideal for
recording audio from a single individual during an interview or a
presentation. The pickup pattern of a lav is generally omnidirec-
tional, but because it is placed so close to the speaker’s mouth,
nominal background noise will generally be unnoticed once the
levels are set on the recording device.
If you are using a lav mic and the interviewee is to
be seated or is stationary during the taping, then run-
ning a cable (or hard wire) from the lav to the mixer or
camera doesn’t present a problem. However, if you are
taping a presenter who is moving around, you will want
to attach your lav to a wireless transmitter. This will
convert the audio signal into radio waves on a specific
frequency that are then collected by a receiver attached
either to the mixer or directly to the camera.
44   Chapter 3  Audio is Half Your Program

When attaching a lav mic, you will want to keep a few things
in mind:
• Place the mic about 12 inches below the person’s mouth, and
try to keep the mic as close to the center of the person’s body
as possible.
• If you are going to try to hide the microphone inside of the per-
son’s clothing, you will need to do it so that the mic does not rub
against the person’s body or clothes. This is tricky and usually
requires some practice and the use of some strategically placed
gaffer tape. Be sure to ­listen closely when monitoring the
audio to ensure you are not recording rubbing sounds.
• Even if you are not concerned about hiding the mic, you
should be sure to run the cable inside of the person’s jacket
or shirt so there is no unsightly cord running down the tal-
ent’s chest when you switch to wide shot.

Shotgun
Shotgun microphones are typically attached to either a cam-
era or a boom/fish pole. A shotgun mic is ideal when a talent is
moving while talking. The pickup pattern of a shotgun mic is uni-
directional and ranges from cardioid to hypercardioid, depending
on the specific model of the microphone.

Although a shotgun mic can be used for recording sta-

tionary interviews, it is most useful when carried by a boom
operator who positions the microphone as close to the talent
as possible while keeping it just outside the camera’s frame.
 Chapter 3  Audio is Half Your Program    45

While this sounds simple, it requires a person with good

­coordination who can focus on the action and withstand the
physical challenges of holding an extended pole above the tal-
ent for long ­periods of time. Often shotguns are used instead
of or in conjunction with a lav mic during stationary inter-
views. Ideally you would use a stand with a boom holder
in these situations.
Here are some other things to keep in mind
when using a shotgun mic:
• Although a shotgun mic is great for record-
ing sound from a particular person, it can
pick up unwanted sound. When other noise
is present, remember that anything inside of the pickup pat-
tern of the mic will also be recorded.
• When using a shotgun mic on a camera, the audio from
whomever you are shooting will be recorded along with
whatever noise there is behind the person you are shoot-
ing. On lower-quality cameras, the mic may also pick up the
sound of the camera running (such as tape moving through
the camera). This is why it is a good idea to have a boom
operator who places the mic above the talent with the mic
pointed at the ground. This way the talent’s voice will be in
the pickup pattern and that pattern then continues straight
to the ground (where substantial background noise is less
likely).
• Shotgun mics are very susceptible to wind noise. Be sure to
attach a blimp or fuzzy to the mic when recording outdoors.
These can be purchased from the same store that the micro-
phone comes from.
Røde makes affordable shotgun
microphones that can run on
9-volt batteries.
46   Chapter 3  Audio is Half Your Program

Wireless Microphones
A wireless microphone goes a long, long way toward a flexible production. This setup also makes it easier for a small or
one-person crew where the camera operator is also running audio. It’s much easier to work with moving talent than to
have to chase after them with cables connecting you—less tripping and more recording.

Three wireless receivers are in use, one per actor. A boom microphone is also in use as a safety.
Photos courtesy of the National Foundation for Credit Counseling, www.DebtAdvice.org.

There is potential of radio interference when working with wireless microphones, so be sure to get a unit that offers
the ability to use different frequencies. Most kits include a lavaliere microphone, an XLR adapter for other microphones,
and a wireless receiver to plug into the camera.
You need to be aware of a recent development regarding the use of wireless RF microphones. As of June 12, 2010,
the Federal Communications Commission (FCC) has made it illegal to use any equipment that operates in the 700 MHz
band. This set of frequencies has been reassigned for use by emergency personnel only. Many wireless mics previously
on the market operated in this frequency range and must be replaced. More information about this ruling can be found
on the FCC website at www.fcc.gov/cgb/wirelessmicrophones.
Be certain to actively monitor your audio with headphones. Besides interference, there are a few common problems.
One is that batteries can wear out, which can introduce dropouts and noise. The most common problem, though, is
human error. With two off switches (one on the microphone and one on the receiver), it’s easy to leave the microphone
turned off. Remember, you plug into the camera and listen to what the camera is recording to know you are getting good
audio.
 Chapter 3  Audio is Half Your Program    47

Cables
The next step in successfully recording good audio is to
hook your mics up to your mixer or recording device. To do
so, you will need the proper cables. Just as a chain
is only as strong as its weakest link, your audio
recording system is only as good as its cables.
Be sure to buy professional-grade cables with
the proper connectors (this doesn’t neces-
sarily mean the most expensive ones in the
fancy packaging).
Most audio cables come with one of four
types of connectors: mini, phono, RCA, and XLR. The first three
are considered ­unbalanced connections, whereas the XLR is a
balanced connection. You will need a balanced connection if
your cable run is going to exceed more than 20 feet.
Most lower-end camcorders will have unbalanced audio
inputs, whereas more expensive cameras will be equipped Professional XLR audio cables
with balanced audio connections. Be sure to check out the are essential.
particular audio connections of the equipment you are using and
make sure you have the proper cables and adaptors. We’ll explore
camera connections in the next chapter.

Multichannel Mixers
If you are using multiple microphones on your shoot, you
will want to use a field audio mixer to combine your
audio sources into one or two channels, which
is probably all that your camera is capable
of recording (some newer HD cameras can
record four channels of audio). A mixer will
also boost your audio from mic level, which
is a ­relatively weak audio signal, to line level,
which is capable of traveling greater distances.
Most portable field mixers will allow you to
combine between two and four audio sources.
Many of these mixers have visible VU meters that will
allow you to visually monitor the strength of the audio
signal and if necessary increase or decrease the signal to
optimum recording levels. If you are taping something like a
panel discussion with more than four sources of audio, you
will need a mixer capable of handling as many as 24 channels.
These mixers are not portable (in that you can’t carry them on
your person), but they can easily be set up in a location such
as a hotel ballroom. Although not required, the use of a mixer
allows you a lot of control.
48   Chapter 3  Audio is Half Your Program

Field Interviews with a Stick Microphone

A lot of web videos use the “roving reporter” style of interview where the host holds a “stick” microphone and points it
toward the interviewee. This style of web video is reminiscent of field reporting in broadcast news. So let’s take a few
pointers from our television friends:

• If your show has a graphic identity, carry it forward by placing your show logo on the microphone. Broadcasters
often have microphone flags bearing the logo right on the mic. A quick web search will give you several choices.
We usually get ours from www.markertek.com; simply print the logo out onto glossy adhesive, and carefully cut it out
with a X-Acto knife and mount it. If you’re doing a man-on-the-street video, strongly consider having one. That little
piece of plastic has gotten us taken more seriously, more quickly, because people think, “Oh, this is going to be on
television.”
• Be careful with your microphone position. Common mistakes we see are interviewers shoving a microphone up
someone’s nose because they’ve never done an interview before. The proper distance is that from an extended
thumb to an extended pinky finger on your hand (around 10 inches).
• Joking aside, it’s like you are sharing an ice cream cone. You take a lick. The interviewee takes a lick. Repeat. You
can learn how to hold a microphone by watching broadcast television news.
• Don’t lose yourself in the moment. We often see inexperienced interviewers who remember to hold out the micro-
phone for the first time but then continue to hold it by their own mouth for subsequent questions. It’s important that
the cameraperson (or audio person if you have one) is paying attention. Make sure someone on the crew is wearing
good headphones and can clearly hear the sound that is being recorded.
 Chapter 3  Audio is Half Your Program    49

In most cases, if you are shooting a web video you will also
be recording your audio on the camera. Most camcorders and
prosumer video cameras will allow you to record two channels
of audio. Therefore, you can use the second channel as a safety.
Some people choose to put the shotgun microphone here. Others
recommend feeding the mixer’s audio, but recording it at a
slightly lower volume in case your subjects suddenly talk louder.
This will let you avoid microphone clipping at a loud volume.
The final benefit of a mixer is consistency. You can feed audio
with good levels and signal strength into a camera that lacks XLR
audio connections. You can also loop the audio into multiple
cameras if you have a multicamera shoot.

External Audio Recorder

This small audio recorder from
Tascam can be discretely
hidden near your subject for
cleaner audio.

Sync Sound Workflow

A great way to record audio in problem situations is to use an
external audio recorder. Popular manufacturers include Zoom, The folks at
Tascam, and M-Audio. These hard drive or removable media Singular
units can record audio at even higher-quality rates than top Software offer
­professional cameras. some great tools
that make it easy to sync
Here’s when we turn to them:
video and audio (www
• As a backup recording device, when we know audio is going to .singularsoftware.com).
be a challenge. Whether you’re recording
• On multicamera shoots of long performances (such as con- to an external audio
certs or plays). This way you have a reference audio source for recorder or have multiple
the entire production that stays at a consistent volume. cameras to sync, they have
• When using cameras that lack professional audio inputs (such you covered. PluralEyes is
as HDSLR cameras from Canon or Nikon). a plug-in available for Final
These units can run for a very long time. Some can even power Cut Pro, Premiere Pro, and
microphones through phantom power. Although these units can Vegas Pro. They also offer
run on battery, we recommend picking up an external power a standalone product for
syncing video and audio
­supply. Nothing ruins a recording like the battery running out
clips called DualEyes.
and corrupting all your files.
50   Chapter 3  Audio is Half Your Program

What about Flip Cameras and Smart Phones?

Sure, we’ll admit that it’s convenient to have an HD camera in your pocket. Especially with a long-lasting battery and no need
for tape. We own an iPhone and a Droid, and we regularly use them for cute video of the kids and cool little insert shots.
But we stop there.
Why? Because the audio from these cameras is beyond
terrible. It’s impossible to record good sound through a pinhole
microphone that’s 30 feet away from your subject. We’ve seen
more than our share of videos made with these cameras, and
the black mark on them is clear to hear.
If you have to use one of these cameras, consider either of
these methods to get good sound:
• Use a second video camera with real microphone
inputs. You can then use a handclap or other sound to syn-
chronize the two sources.
• Use a dedicated audio recorder. There are many solid-
state or card-based recorders that can be placed near (or
even worn) by your subject. Just synchronize during editing.
• Don’t use the audio. Just use these tiny cameras for extra
© Piotr Marcinski—Fotolia.com. footage that you cut into another production.

Headphones
Perhaps the single most important thing you can do while
recording a web video is to be sure someone on the crew is wear-
ing a good set of headphones. Using over-the-ear (earmuff) style
headphones is very important (especially if you have
to be your own sound person).
You’ll plug these headphones directly into the
camera to monitor the audio being recorded. Be sure
to listen if the audio gets too loud or too soft, as both
will cause problems (over-modulation and hiss, to be
specific).
We often favor noise-canceling headsets, as they
make it easier to hear your sound. We know that
some audio purists say they’re a bad idea, but we
find that the noise-­canceling models are just cleaner.
We’ve used models from Skullcandy, Bose, and Able
Over-the-ear headphones help isolate the Planet. They are all nice options that let you actually
audio you’re monitoring. hear what you’re recording.
 Chapter 3  Audio is Half Your Program    51

Common Errors
Remember, it is much easier to add additional sounds to
what you’ve recorded than it is to remove unwanted sound. So if
the kid across the street starts to mow his lawn during the mid-
dle of your shoot, you may want to try greasing his palm with a
twenty rather than going with the assumption that you can use
a filter to remove this sound during postproduction. Besides
making bad assumptions, here are a few more things to look
out for.

Mic/Line Level
If you’re plugging microphones into a professional camera,
you are usually presented with a switch labeled “mic/line.” If
you are running your microphones through a mixer, you gen- © Pavel Losevsky—Fotolia.com.
erally set it to line level. If the microphones are going directly
to the camera, you set it to mic level. What is important here
is testing. If your switches have been set incorrectly, you will
likely get distorted audio that can be unusable. Be sure to
check both ends of the cable (that is to say, the mixer and the
camera).

Dead Batteries
Many microphones and mixers require power sources. A bat-
tery is the most likely power source. These might be AA, AAA, or
watch battery style. Whichever your microphone or mixer uses,
have extra (lots of extra) batteries. On nearly every shoot we’ve
ever had, the field mixer burns through a battery. Also, the micro-
phones seem to cut out at the least convenient time. If you are
using wireless equipment, you’ll go through batteries even faster.
© milosluz—Fotolia.com.
Investing in a spare package of batteries is much cheaper than
delaying your shoot or missing a shot. We keep a compartment
just for batteries and make sure it is refilled every time before
leaving our shop for a shoot.

Mic Placement
Microphones are great, but only if you use them correctly.
Be sure you know the pickup patterns of your microphones,
and then position them to capture the speaker. Another com-
mon mistake we see is forgetting how people may move on a
set. For example, a person doing a technical demonstration may
need to look over his or her right shoulder. If the mic is on the
left ­shoulder, things are going to get pretty quiet. When placing
microphones, always think about the likely movement of your
subject and the pickup capabilities on the mic.
52   Chapter 3  Audio is Half Your Program

Crossing Wires
Wise men were right to say, “Don’t cross the streams.”
When microphone cables cross power cables, you can get
a lot of electromagnetic hum. Audio cables can be shielded
to help minimize this, but it’s a good idea to run your audio
cables so they do not cross or tangle with other equipment
cables. In fact, be sure to tape things down, both for safety
and to prevent cables from getting mixed throughout the
production.

Other Audio to Acquire

While we’ve focused on recording great audio in the
field or studio, there are still a few audio sources left to
consider. Not every production will need more sound than
you capture during your principal shoot. But many others
may need a little enhancement.
This mixture of audio, video, and
power cables can cause signal
interference and ruin your audio Narration
track. Whether you’re making a new report, documentary, or
how-to video, the use of a narrator is common practice.
Even videos that are primarily driven by sound bites may
need a narration bridge to fill in gaps.
The script is often written in conjunction or after the
edit occurs. This approach allows for editing efficiency
and ensures great synchronicity between ­picture and
sound.
Some producers favor using professional narra-
tors. For simplicity’s sake, these fall into two catego-
ries: union and nonunion. The American Federation of
Television and Radio Artists or the Screen Actors Guild
usually represent union talent. Going this route ensures
a wide range of talent, but it typically involves licensing
fees based on your video’s distribution path. The good
news though is that fees are generally clear and well
documented.
Other producers favor nonunion talent. This option
typically does not require additional fees and can be
secured with a buyout agreement. Several websites are
available that allow you to audition ­possible talent and
even set up your recording time and negotiate fees.
If you decide to use your own voice (or that of a
© Pavel Losevsky—Fotolia.com. friend or coworker), that’s an option too. Be sure to pick
 Chapter 3  Audio is Half Your Program    53

up a USB desk microphone. We’re big fans of the microphones

from Blue Microphones (www.bluemic.com) and Shure (www.
shure.com). Consider plugging the microphone to a ­laptop and
searching for a quiet room that’s free from air conditioning and
environmental noise. If you have to record into a desktop com-
puter, get a long cable and move the mic as far away from the
computer as possible. Be sure to wear headphones in either case
to ensure you’re hearing what you are recording.

Our Standard Audio Kit for Web Video Productions

2   Headphones 1   Breakaway XLR mic cable

1   Sound Devices two-channel mixer 2   10-Feet XLR cable
1   7-foot boom pole 2   20-Feet XLR cable
1   Sennheiser shotgun microphone with cover 6   Spare batteries
1   Shock mount (connected to pole) 1   Box of audio adapters
1   Mathews grip head 2   Tram lavaliere microphone set
1   Boom pole mounts 1   Zoom H4N digital recorder
3   Sennheiser wireless mic gear
54   Chapter 3  Audio is Half Your Program

Sound Effects
The proper use of sound effects can really enhance your video.
No, we don’t mean cartoon effects like in a Tom and Jerry episode.
Rather, we’re referring to environmental noises that help engage
the viewers in what they’re seeing. Consider the sound of the
ocean crashing, the hum of traffic rushing by, or the wind blow-
ing through the trees.
The good news is that sound effects are fairly easy to come
by. If you’re using Final Cut Pro or iMovie on a Mac, then you
have an extensive sound library to draw on (with Soundtrack
Pro and GarageBand, respectively). Adobe Creative Suite
users can turn to the bundled Soundbooth application, which
can connect to Resource Central for a large sound library. Of
course, there are extensive sound effects libraries online where
you can purchase individual sounds. You can even grab a digital
audio recorder and give your own hand a try at gathering sound
effects.

Music for Web Video

A professional USB
microphone, like the Blue Yeti,
makes recording high-quality
narration possible.

Want More on Sound?

Several
excellent books
and DVDs focus
on sound © SSilver—Fotolia.com.
techniques for video. Here
are two we recommend: When it comes to music, there are a lot of misperceptions. Let
• Producing Great Sound us tackle the biggest one head on. Just because you bought a CD
for Film and Video by or purchased a music track as a download does not mean you
Jay Rose can edit your video to it. There are hundreds of ­misperceptions
• Now Hear This! Superior about fair use, student use, limited use, and more. Even if you do
Sound for Digital Video qualify under the very limited rights of fair use, you’ll need to be
by Douglas Spotted prepared to defend yourself in a court of law. Our simplest advice
Eagle and VASST
is don’t do it, there are many easier options available.
 Chapter 3  Audio is Half Your Program    55

Licensed Music
Sound Effects
There are extensive music library services designed for video
producers. These companies make original music in a vari- Our favorite site
for purchasing
ety of styles. Fees vary greatly, but two principal methods exist.
individual sound effects is
If you create a lot of web video, you can subscribe to a library
Sounddogs (www
with an annual fee (often only a few thousand dollars per year). .sounddogs.com). This site
Additionally, many libraries allow you to license individual tracks offers a huge library and
for one-time use for a fixed fee. royalty-free licensing.
If you have your heart set on using popular music, then you It also has a massive
need to get a license. You can try contacting the artist and label library of stock music and
directly (and don’t take a lack of a response as permission. A great audio loops.
overview of the process is available at www.clearance.com/get_
yourself.htm.
Stealing Is Bad
Royalty-Free Music We’re not kidding
Several music libraries and musicians make their music avail- when we say
don’t use
able royalty-free. It’s important to note that royalty-free does not
copyrighted music.
mean free. It just means that once you’ve bought it, you don’t Criminal penalties for first-
have to pay any additional royalties. time offenders can be as
There are a ton of options out there, just do a web search high as five years in
based on “royalty-free music.” We often buy themed CDs for prison and $250,000 in
about $100 that give us unlimited clearance to use the tracks on fines.
any video production. You’ll also find download services that typ-
ically charge $20 to $65 per song.
More on Copyright
Podsafe and Creative Commons Music For more
Many musicians do welcome the exposure of their music information on
being used in web videos. A search for the term “podsafe fair use and
copyright, see these
music” will generate several hits. These artists typically allow
resources:
their music to be used free of charge (as long as proper credit
• www.copyright.gov
is given). This is one of the best ways to find high-quality music • fairuse.stanford.edu/
and find fresh-sounding tunes that aren’t overplayed. Even Copyright_and_Fair_
some well-known artists have released their music in limited- Use_Overview
use cases. Be sure to read the rights or disclaimers and make • mediaeducationlab
sure you follow them. .com/2-user-rights-
section-107-music-video

Loop-Based Music
Another option for music is loop-based composing. Many
editing tools are available (and even come bundled with
video editing tools). Be sure to explore options like Apple
GarageBand or Soundtrack Pro, Adobe Soundbooth, and Sony
Acid.
56   Chapter 3  Audio is Half Your Program

These programs work by letting you browse a large collec-

Pro Loops tion of musical loops (such as drum beats, guitar riffs, and more).
One of our They can then be assembled, looped, and modified. This is an
favorite sources easy way to create custom music that is free from copyright.
for audio loops
is Advanced Original Music
Media Group (www
.amguk.co.uk). This If you want to be 100% unique (as well as free from copyright
service offers several loops issues), then record original music. This might be the time to
in many genres. We like revisit your musical talent. If not, you can also utilize the talents
its pro line too, which of a local musician. There are also many musicians who adver-
includes musical building tise their composing services online. Costs vary greatly, but we’ve
blocks from Norman Cook purchased original music for affordable rates.
(Fatboy Slim) and Vince
Clarke (Yaz, Erasure).
Great Video Needs
4
Great Lighting

The key to great-looking web video is an understanding of

light. While we’re not going to send you back to high school
­physics, you do need to know some basics about light so you can
control it. The truth is that cameras are nowhere near as sensitive
as your eyes, so it takes extra effort.
If you take the time to learn how to light a scene, you can
capture great-looking footage (even with less-than-professional
­cameras). It might mean choosing a location with good natural
light, bouncing the available light where you need it, or creating
your own environment using lighting instruments.
When it comes to web video, we realize you likely don’t have
the same luxuries as a TV commercial or feature film. There’s
probably not a lighting director or gaffer hanging around. You’re
going to need to know how to do it yourself if you want your
­productions to look professional.

Only four lights were used to light this entire set. By getting the lights high toward
the ceiling and shaping them with barn doors, a great deal of control was possible.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
57
58   Chapter 4  Great Video Needs Great Lighting

Lighting on a Deadline and Budget

When it comes to web video, you’ll usually face constraints of
both time and budget. Get too cheap with lighting, however, and
the whole project will fall apart. If you shoot under poor lighting,
your video will be grainy and possibly even out of focus.
Our solution is to work in more of an electronic news gather-
ing (ENG) style of production while striving to achieve the results
of a fully crewed production. In other words, how can we go in
the field with a one or two-person crew and successfully get what
we need? This style of production is foreign to many video pro-
duction professionals, but it is essential for success when produc-
ing video for the web. This means packing the right equipment
(without overpacking) and learning how to work with what you
have on location.
Because the size of your crew will be constrained, you’ll need
a crew that’s multitalented. This means that a crew of two or three
(and sometimes one) needs to be able to do the audio, lighting,
and videography. A crew really needs to be flexible to make web
video production viable in terms of budget. With this in mind,
let’s explore some specific lighting scenarios.

Lighting Considerations: Indoors

This room had skylights, The good news is that you’ll generally have greater control
fluorescent, and incandescent lighting an indoor shoot. This is because it’s easier to control
light in the same room (at it was
both the amount and quality of light on your set. When shooting
designated the room for press
outdoors, your primary light (the sun) keeps moving and even
conferences). Talk about a
challenge. ­disappearing behind clouds or the horizon.
 Chapter 4  Great Video Needs Great Lighting    59

By building a basic lighting kit, you’ll have the lights and

accessories to control the look of your shots through creative Safety First
lighting design. Entire books and courses have been devoted to It’s important
the theory of light, but for our purposes let’s take a look at the that you’re
essential decision-making process. Once you get the basics, you’ll safety conscious
see a quantum leap in the quality of your video. with your
equipment on a shoot.
This means taking extra
What Is the Lighting Situation on Your Set? measures like using
The first thing you should do when you get on location is to sandbags to secure lights
take a look around. Does your room have mixed lighting, such as well as addressing
as sunlight from windows combined with overhead fluorescent power cables. We highly
lighting? Or is the light coming from a single source? Your first recommend using rubber
mats or taping down all of
consideration should be to assess what kind of light is present on
your cables. Make sure
your set. What can you do with what you have? Is there anything
the whole area is safe,
good about the existing light? because the last thing you
want is someone tripping
Can You Control the Color Temperature on Your Set? over your production gear
and suing you. You can
Ideally, there is no natural light coming from windows or sky-
also pack a small set of
lights. Additionally, you’ll have the ability to control the existing
safety cones (often
lights in the room. If this is the case, then the room is easier to available from sporting
light with the lighting fixtures in your kit. However, if you are in a goods stores) to help mark
room with windows, or lights that can’t be shut off, then you will out your equipment.
need to be prepared to modify or adapt to these conditions. This
often means using colored gels or changing the settings on your
camera to ensure a proper white balance. Otherwise your cam-
era will take on an unwanted colorcast that can ruin the video.

What Is the Color Temperature on Your Set?

Light essentially has a visible color, and this is particularly true
on camera. Think of a bright blue, sunny day or the warm, orange
glow of a candle. In a basic sense, light takes on the following colors:
• Sunlight = Blue light
• Standard lightbulbs (tungsten) = Orange light
• Fluorescents = Greenish light
Problems can arise when your camera isn’t set up for the light
you have. Even worse is when different colors of light start to mix
together. The human eye is particular when it comes to color.
Getting your video out of balance is bothersome to the audience
and makes your production look amateurish.

Which Corrective Action Should You Take?

Once you know what kind of light is present, you’ll know what
type of light to add to fix the room. A common scenario you’ll face
is being in a room with lots of windows. The video lights you’ll bring
may be tungsten lights, so you’ll need to take some corrective action:
60   Chapter 4  Great Video Needs Great Lighting

You may need to use colored gels

on your lights to change their
color temperature.

• Change the windows. One option is to cover all of the win-

dows with a special gel called color temperature orange (CTO).
This can be very effective, but it’s time intensive and can get
expensive.
• Change the lights. The other choice would be to place blue gel
over your lights. Gelling the lights is usually the best decision
when time and budget are tight. However, a full blue gel can
substantially reduce the intensity of your lighting fixtures, so
you’ll need stronger lights.
• Go a different route. Because neither of these methods are
great for time or budget, we recommend using specialized
A receptacle tester cost less
lights. Many newer fixtures use fully adjustable light-emitting
than $10 at a hardware store
diode (LED) lights. You can also find specialized fluorescent
and offers a good way to test if
an outlet has live power that is lights that can use both tungsten and daylight bulbs (more on
grounded. both later in the chapter).

Do You Have Enough Power?

Without power you won’t have lights. Seems like a
simple concept, but we see people screw it up all the
time. What happens if you blow a fuse? Can you access
the circuit breaker? Are there enough outlets to power
your lights? Do the outlets actually work? When lighting
indoors, be mindful of the amount of power that your
lights are drawing.
Let’s keep it simple and look at a typical scenario
for the United States. A standard current is 120 volts,
and most single circuits are rated at 15 amps. If we
remember basic physics watts = amps × volts, so 15 ×
120 = 1,800. Therefore, a single circuit should be able
to run at least 1,500 watts of lighting before the circuit
breaker trips. Look at your lights and see how many
 Chapter 4  Great Video Needs Great Lighting    61

watts they are rated for (this information is usually on the light,
plug, or bulb). Don’t Use Auto White
Balance
But your lights may not be the only things drawing power on
the circuit—it’s usually impossible to tell how many outlets there While you may be
are on a single circuit. Therefore, it makes sense to run several tempted to rely on
heavy-duty extension cords (often called stingers) from multiple an auto white
outlets in the hope that you are spreading your power load over balance feature on your
camera, don’t. The auto
multiple circuits. Many older buildings have different wiring set-
white balance can be
ups, and you should always check to make sure you don’t over-
overly sensitive to things
load a circuit, which could potentially be a fire hazard. Be sure like a passing cloud.
you know where the electrical panel is so you can reset circuits Instead, just keep an eye
as needed. After all, if a breaker is going to trip, it will usually wait on your monitor or
until everything is set and you start to record your first shot. viewfinder while shooting.

Lighting Considerations: Outdoors

Whereas shooting indoors allows you a certain level of lighting
control, the only certainty about shooting outdoors is that it will
bring challenges. Besides the difficulty of inclement weather, you
have an unpredictable lighting source (the sun). Among the chal-
lenges you will be presented with when shooting outdoors are the
following:
• Your light source is constantly moving.
• The color temperature of sunlight shifts throughout the day—
remember to white balance your camera often.
• The light can change from hard direct light that casts strong
shadows to even flat light and back again—all in a matter of
seconds.
To counteract these curveballs Mother Nature might throw at
you, you can make use of specialty equipment.

Reflectors Are for

Indoors Too
You can use
reflectors for
indoor shooting
too. They can bounce both
sunlight and electrical
lights. They often work
quite well for interviews,
as you can bounce light
onto the subject’s face
(as opposed to pointing
a bright light in the
Shooting under the sun requires additional control. Large reflectors can be used
person’s eyes).
bounce the sun onto your subjects.
62   Chapter 4  Great Video Needs Great Lighting

Reflectors

Here we use foam core board bought at a local hardware store as a makeshift
reflector. This is our tool of choice when flying to a shoot location because it can
easily be found locally.
An HMI light is an important
addition to an outdoor shoot.
They are expensive to buy, but
can be affordably rented.
Unfortunately you can’t change the position of the sun. But
if you are dealing with direct sunlight you can use a reflector to
redirect sunlight onto your subject or background. Reflectors are
some of the cheapest pieces of equipment you can own and they
are critical to outdoor shooting.
A reflector can be something as simple as a piece of white
poster board. Many will make their own out of reflective material
(such as Reflectix Insulation) and a piece of foam core. You’ll also
find reasonably priced reflectors made from fabric and a flexible
frame (such as those made by Flexfill). You should invest in a few
basic reflectors for your own lighting kit. Nothing works better for
bouncing the sun.

HMI Lights
If you’re shooting outdoors, one of the best tools you can use
is HMI lighting. This type of lighting is unique in that it uses an
arc lamp instead of an incandescent bulb (the letters stand for
hydrargyrum medium-arc iodide). HMI lights are highly efficient
and specialized fixtures. They can produce light with exactly the
same color temperature as daylight (5,600° Kelvin).
HMI lights make daylight shooting very easy. Their color matches
the sun, plus you don’t need to use many of them to get results.
A 200-watt HMI can produce light as intense as that of a 1,200-watt
tungsten fixture (without needing nearly as much power).
 Chapter 4  Great Video Needs Great Lighting    63

There are two downsides to HMI lights for web video

production: Fixing It in Post?
• Size. HMI lights require an external ballast to work (which is Although we are
essentially an external power converter). This ballast con- big proponents of
tributes to the bulk of transporting these somewhat fragile getting it right in
fixtures. the field, we are also
• Cost. A single 800-watt HMI fixture can cost in excess of realists. Sometimes corners
will have to be cut in the
$5,000, and replacement bulbs run around $250 each. We
field in order to
realize the thought of spending more on a light than on your
accomplish the shot or
­camera can be shocking. stay on schedule. Knowing
We typically rent HMI lights from local lighting houses, thus what can be done in an
eliminating the need to transport them over long distances. edit suite is helpful so the
The typical rental fee for a small HMI light is $65 to $200 per director or videographer
day. If  shooting outdoors, we’ll often add one HMI light to can make judgment calls.
counterbalance for a disagreeable sun. On the positive side, It is often easy to tweak a
you usually have an abundance of free light when shooting slightly underexposed shot
outdoors, so HMI ­lighting is really an “insurance policy” kind or increase the midtones
of choice. to help separate the talent
from the background.
Additionally, tools like
Lighting Considerations: Multicamera Magic Bullet can be used
to further enhance the
It is becoming increasingly common to shoot web video with look of the video during
multiple cameras (a technique we’ll explore more in the next postproduction. Don’t let
chapter). This is a common solution because it can both speed your shoot deteriorate
up the acquisition stage (by eliminating the need for multiple to utter crud, but be sure
takes) and accelerate editing (by simplifying camera syncing to know what you can
issues). and can’t do with color
correction. We try to light
a podcast as right as
possible, but if it means
two lighting people and
an extra $1,000 worth
of lights, we’ll sometimes
make quality judgments.
We recommend taking
a test shot onto a laptop
while in the field so you
can fully understand the
options you’ll have with
your footage.

Consideration was given to light placement because there are three cameras on
set. By hanging lights or keeping them high on stands, you have a wider angle for
shooting.
64   Chapter 4  Great Video Needs Great Lighting

Multicamera shoots likely happen indoors—if not, they

­ appen outdoors. Because we’ve already touched on both, what’s
h
different you ask? It’s important to design lighting setups that pro-
vide even lighting for all talent without having the lighting stands
in the camera’s field of view. Although this may sound easy, it gets
much trickier to place lights when you have to accommodate
multiple cameras. The most common approach is to hang the
lights from a ceiling or a lighting grid. As this may not be avail-
able, you’ll need to think closely when positioning your lights. Be
sure to move the camera around and test your angles as you hang
lights. Make sure there are no bad shadows or distracting stands
or power cords in the shot.

Hanging a large overhead light in the center of the set made it easy to fill in the scene and shoot from multiple angles
with two cameras.
 Chapter 4  Great Video Needs Great Lighting    65

Lighting Considerations: Green or Blue Screen

The use of chroma (or color) keying software has gotten much To spice up the hosted segments,
easier in postproduction. The most common techniques involve we shot on a blue screen.
shooting talent against a blue or green screen and then replacing Custom graphics could then be
that colored background with a new one. This process is a staple inserted as well as a virtual set.
in filmmaking special effects and has made its way into web video Footage courtesy the National
as well. Foundation for Credit Counseling,
www.DebtAdvice.org.

To succeed with chroma key, you want to pay close attention

to shooting and lighting.
When shooting chroma key footage, be sure to turn off all the
Auto settings on your camera. This means no auto-exposure,
auto–white balance, or auto-focus. If any of these are left on, the Avoid MPEG, DV, and
footage you are trying to key will constantly be changing as your HDV for Keying
subject moves. These constant fluctuations will make it harder
Many cameras
for you to get good results. While you’re changing settings, switch shoot highly
your camera to a progressive frame rate (such as 24p), as you’ll compressed video.
get much cleaner edges on your keyed shots. This makes tasks like
You’ll have many choices when selecting a backdrop. Although chroma keying much more
you can simply go and purchase fabric at a fabric store, many will difficult because of the lack
invest in higher-quality backdrops from a video or photography of color information in the
retailer. The most popular backdrops use polyester fabric stretched video. Consider using a
by a metal frame, which offers an easy-to-light surface that avoids higher-quality camera
wrinkles and shadows. These backdrops can be easily folded and when shooting chroma
transported. Muslin backdrops are also used, but they may require key. If not, you’ll have
more work in the edit suite.
more attention to lighting to avoid wrinkles and bad keys.
66   Chapter 4  Great Video Needs Great Lighting

The location, a training classroom provided by the client. We shot on a blue screen (using Reflecmedia technology).
The LED lights turn the background an even blue, which makes keying easy.

Here are a few practical tips for lighting and shooting a chroma
key set:
• Even lighting. It is essential to minimize variation in colors for
the backdrop. This means that you must evenly light the back-
ground to avoid hot spots. Diffused lighting (such as soft boxes
Invest in a Good Key or fluorescent lights) makes this easier.
• Spill is bad. Be sure your subject doesn’t stand too close to the
If you plan to backdrop, otherwise you’ll get shadows on the backdrop and
shoot a lot of
color spill on the person.
chroma key,
you may invest
• Keep your distance. Try to keep your camera as far away from
in a dedicated chroma the screen as possible. It’s better to increase the distance, even
keying system. We use a if it means some blank edges are showing (you can always
Reflecmedia Chroma Key crop these out later).
system frequently. This • Avoid fast movement. A fast-moving subject creates motion
approach relies on an LED blur. This is typically where keys become bad or obvious.
disc attached to the • Use shallow depth of field. If your camera supports it, lower
camera lens that reflects your aperture. This will help make the background fall out of
light on a special fabric focus. This is an easy way to hide wrinkles, seams, and hot
containing millions of spots.
glass beads that reflect the
lower-powered light and
create an even-colored Lighting Considerations: Available Light
surface. Systems like this Sometimes, you’ll have no control over lighting at all (such as
cost more, but they are at a concert or theater performance). In this case, you need to
popular for their ease of make do with what’s there and properly set your cameras. You’ll
use and portability. The need to experiment with settings for color temperature as well as
system saves us a lot of adjust the camera’s iris.
time and money during the
Because this may take some trial and error, it’s a good idea to
editing stages.
do a site survey before the job (and bring your camera). Go and
 Chapter 4  Great Video Needs Great Lighting    67

This concert by the Brindley Brothers was recorded at Jammin Java (www
.jamminjava.com) using available light.

look at the location and attempt to see what it will look like with
the lights turned on. You can then make better decisions about
how to handle the lighting, such as to go as is, or push to add
some lights to the budget.

Recommended Lighting Instruments

When we talk to many web video producers starting out,
they’re hesitant to make an investment in lighting gear. We real-
ize that buying a gear like a superfast computer and high-end
camera seems like a good idea. You’ll be able to use that high-end
computer to waste time fixing poorly lit shots. And that camera?
A great camera without proper lighting is like a jet plane with no
fuel. Here’s the good news. Your lighting gear will last for years if
you take good care of it.
The type of lights you choose to use on your web videos will
vary greatly depending on the style of production and your bud-
get. When we build our lighting kits, we focus on performance,
value, and flexibility. We often find we are shooting in the field; as
such we need lights that are durable, perform well, and are easy
to transport. With this in mind, here are a few recommendations.

Tungsten Lighting Kit

One of the first investments video pros make is in a good tung-
sten light kit. The most popular manufacturers of these kits are
Arri, Mole Richardson, Lowell, and LTM (among others). You can
68   Chapter 4  Great Video Needs Great Lighting

often find a great starter priced around $1,500,

and it will include the following:
•   Three or four lights
•  Stands to hold the lights in place and adjust
their height
•   Barn doors to shape the light
•   Scrims to diffuse the light
•  A travel case to protect the gear while in transport
You can often find professional lighting deal-
ers locally, or, of course, shop online. Although
the brand names of the contents will vary, you
generally want to get a kit that contains lights of
­different types and sizes.
Tungsten lights are mainstays in professional video A good kit will include an open face type light
production.
that can be fixed with a soft box or lantern to
provide a broad light source. This is usually used
as key (primary) light, especially when shooting
interviews. This light will usually be rated for a
500- to 1,000-watt lamp.
The kit should also include several Fresnel lamps
of varying intensity. Fresnel lamps contain a lens that
allows you to control the spread of light from a spot
to flood coverage. These versatile lights can be used
to help fill in light on your subject, provide backlight
for separation of foreground and background, and
light elements of the background or set.
Other items in our Tungsten kit include the
following:
•  Dimmers. Dimmers control the intensity of
Dimmers let you adjust the intensity of light without the lights with a slider or dial. Be sure your
changing bulbs or fixtures. dimmer is rated to handle the wattage of your
fixture. Although the dimmer you pick up at
your home improvement store may work fine
with your 100-watt backlight, using it with a
750-watt Fresnel will create a fire hazard.
•  Gels. These include a variety of color correc-
tion gels, theatrical gels in multiple colors for
creating dramatic lighting environments, along
with pieces for diffusion and neutral density.
You can often find these at music stores that
cater to disc jockeys or at lighting stores.
•  Leather work gloves. Tungsten lamps tend to
get rather hot; don’t get burned. A pair of heavy,
leather work gloves can save your hands.
•  Blackwrap. This is essentially heavy-duty alu-
minum foil that is coated black. It is used to
Wear heavy-duty gloves when handling hot lights. wrap lights and prevent unintended light spills.
 Chapter 4  Great Video Needs Great Lighting    69

Build a Lighting Kit

You can expect to
spend between
$1,000 and
$4,000 when building a
lighting (depending on the
features you want). When
ordering, be sure to pick
up spare bulbs because
they break and wear out
with usage. You can often
find used lighting gear for
sale much cheaper.

Extra stands and a carrying case round out a good light kit.

• Wooden clothespins and gaffer tape. These are used to hold

gels and other lighting accessories in place.
• Extra stands. You want enough stands to support each of your
lights plus a few extras always come in handy to hold reflec-
tors or monitors.

QP Cards Make for Easy Color Matching

One essential piece of lighting
equipment emits no light at all. We
adhere a QP card on our clapboard.
These adhesive cards are a small strip
with white, neutral gray, and black.
They are generally sold as a three-
pack for around $12.
You take one out at the start
of your shoot and stick it on your
clapboard. This way every take will
have a color reference strip. Then
in your editing software, you utilize
a three-way color corrector with a
white, gray, and black eyedropper.
This makes it easy to calibrate your
camera angles in post and ensure
accurate color balance.
70   Chapter 4  Great Video Needs Great Lighting

Refillable Sandbags Fluorescent Fixtures

If you go onto
any
professional
video set, you’ll see
sandbags in use as a
protective measure to
secure light and audio
stands. But traveling with
250 pounds of sandbags
can get expensive (and
heavy). Instead, try
refillable sandbags, which
travel light. When you get
to your location you can
fill them with sand, rocks,
or whatever else can be The use of portable fluorescent lighting fixtures has become
found nearby. A popular popular among video professionals. Companies such as Lowell,
model by Lindcraft is Mole Richardson, Cool Lights, and Kino Flo make these fixtures.
made of durable Cordura The reason for their popularity is that these lights offer several
Nylon with a heavy-duty great features:
zipper with a hook-and- • They are a great source of even, soft light that is ideal for
loop cover flap to keep it shooting interviews or lighting a chroma key backdrop.
shut (www.lindcraft.com/ • They run very cool, allowing them to be easily moved. They can
product_details/RS.html).
run all day in a small room without turning it into an oven. This
is important for keeping your talent and crew comfortable.

Bulbs can be easily changed in

this Kino Flo light.

• Many of the lights are modular, meaning that you can change
the number of bulbs used in the fixture. They can also be
equipped with either daylight- or tungsten-balanced lamps.
This is a great time-saver during setup because you don’t
have to gel the windows. The lights are essentially two set-
ups in one fixture. We know that we walk into any shoot
 Chapter 4  Great Video Needs Great Lighting    71

­ nvironment, change bulbs,

e
and turn the lights up or dim
them down. It truly is a flexible
lighting system.
• Many of the light control fea-
tures such as ballasts, barn
doors, and dimmers are built
directly into some models.
• Many manufacturers offer kits
that come with airline-ready
shipping cases. They also meet
the weight requirements of air-
lines, which make them easy to
travel with. Speaking of travel,
you can also find universal
This Kino Flo light is self-
models that can be used anywhere in the world, switching
contained with light controls
from 90VAC to 265VAC. built right into the unit.
A fluorescent light can be found starting around $300 for a
single light kit and up to $3,000 for multiple light kits with stands.
Although this is an investment, the lights have proven their value
over time for our productions.

LED Lights
A new type of lighting technology has
emerged in recent years, LED lighting. These
fixtures use several light-emitting diodes (LEDs)
as the source of light. Although LEDs have
been around for years, it's only recently that
they’ve become both cost effective and color
accurate.
LED lights use a fraction of the power
that traditional video lights pull. In fact,
some of these lights can even run off AA bat-
teries for an hour or more. These lights tend
to be compact and lightweight (often not
much bigger than a flashlight) yet put off a
surprising amount of light. Other benefits
include durability—unlike traditional lights,
LEDs are very hard to break. They also run
very cool, so your talent won’t get too warm
sitting under them.
72   Chapter 4  Great Video Needs Great Lighting

We really like our Zylight

fixtures. They adjust to any
color temperature within 1°
Kelvin. We also switch them to
Gel Mode to produce colored
hues with adjustable saturation
(which comes in handy for
colorizing backdrops).

When shopping for LED lights, you’ll find a huge range in

prices and features. Many smaller LED lights can be found at
around $100 to $150. Other brands that include several addi-
tional features (such as built-in dimmers and color temperature
­controls) can range between $700 and $1,400 per light.
Building a kit with these lights, you’ll have a lot of options
when it comes to pricing. We’ve either bought or used lights
from Bescor, Cool Lights, Litepanels, Reflecmedia, Switronix,
and Zylight. We really like these lights for travel, as they’re so
lightweight (airline baggage fees add up quick). If you’re going to
travel much, LED lighting should be a part of your lighting kit.

China Ball Lanterns

 Chapter 4  Great Video Needs Great Lighting    73

On the opposite end of the price scale are China Ball lan-
terns. These offer an easy and affordable way to illuminate a large More on Lighting?
area. The China Ball is a soft paper lantern that can attach to a There are
­standard light socket unit. The fixture can create soft natural light several excellent
that produces pleasing skin tones. books and
Although prices vary, we often purchase ours from a website DVDs that focus
called Filmtools (www.filmtools.com). A kit needs the following on lighting techniques for
video. Here are a few we
items:
recommend:
• Paper lantern. These range in size from 12 to 30 inches. The
• Lighting for Digital
cost is usually $3 to $20, depending on the size. Video & Television by
• Practical light socket assembly. This is generally a medium John Jackman
socket with an on/off switch. The socket can handle up to 660 • Motion Picture and
watts and terminates with a standard household connector. It Video Lighting by Blain
costs approximately $6 per unit. Brown
• Lightbulbs. Bulbs range between $5 and $20 for photo-quality • Video Shooter:
bulbs. Be sure you do not exceed the recommended wattage Storytelling with HD
of the fixture. Cameras by Barry
Braverman
• Light It Right by Victor
Milt and VASST
• The Power of Lighting
by Bill Holshevnikoff

A China Ball lantern produces soft, even lighting that is very affordable.

These fixtures are very affordable and are also easy to travel
with. Just be careful that you monitor their usage. Because the
lanterns are made of paper (flammable), you should not leave
them unsupervised on the set. To make them safer, consider add-
ing a Lanternlock fixture (optional). This unit will fully expand
the lantern and helps keep a hot bulb from setting the paper on
fire. They run around $60 to $85 and can be added to increase the
usefulness of a China Ball lantern.
74   Chapter 4  Great Video Needs Great Lighting

Three-Point Lighting
Three-point lighting is the standard when it comes to lighting for film, video, or photography. This basic method,
like the name implies, utilizes three light sources focused on the subject from different angles.

Key light. The key is your primary light source. Generally this is your most intense light, and it is placed between
15 and 45 degrees to the side of your subject. Using a broad soft source of light like that produced by a softbox or
fluorescent fixture such as a Kino Flo is ideal when shooting interviews.

Fill light. The fill is your secondary light. It is placed opposite the key, and its primary function is to fill in the shadows
cast by the key light. To what degree you utilize your fill light is a matter of creative judgment. Ideally you would use a
smaller fixture as your fill light. But if your fill is the same size as your key, you can lessen its intensity by increasing the
 Chapter 4  Great Video Needs Great Lighting    75

distance between the fill and your subject, using a dimmer, placing additional diffusion in front of your fill, or bouncing
your fill light off a reflector.

Backlight. The backlight is your third and typically least intense light source. Its purpose is to highlight the edges of
your subject, thus separating the subject from the background, which creates a three-dimensional look. Placement of the
backlight is usually behind and above your subject.

The final result. All three lights are combined for even and attractive lighting.
Once you understand the principles of three-point lighting, you are well on your way to understanding the art of
lighting.
76   Chapter 4  Great Video Needs Great Lighting

Two-Person Interview

2   300-watt Fresnel w/ barn door 1   Leather gloves

2   100-watt Fresnel w/ 2 barn doors 6   C Stands with arms
8   Light stands 2   10-lb sandbag
1   Mathews grip head 2   Six-port power strips
2   Reflector holder 3   10-foot three-port extension cord
1   Gel and diffusion jelly roll 2   25-foot extension cord
4   300-watt dimmers 4   Backdrop support bar
4   Ground wire killers 8   Medium steel spring clamp
2   Tungsten/daylight reflector 2   Muslin backdrops
1   Spare lightbulb kit 2  Kino Flo 200—2-bank kit w/ stands
1   Gaffers tape roll and bulbs
1   Blackwrap roll 2   White card stock (bounce card)
 Chapter 4  Great Video Needs Great Lighting    77

Technical Training Set

At Least 10 Ft At Least 5 Ft

an ce
B a
k
ft n-F
So pe
ith O
w 0W
0W
65

65
Logo Projector
Backdrop

r
ute
mp
e
ki

Co
oo
C

Table
W 0

30
30

0W
Fr
es
ne
l

Bounc
eB
or Fill oard
Light
10
0
W

el
sn
Fre
W
100

1   650-watt Fresnel 2   White card stock (bounce card)

1   Chimera soft box—small—speed ring 6   C stands with arms
1   300-watt Fresnel w/ barn door 2   10-lb sandbag
1   100-watt Fresnel w/ 2 barn doors 2   Six-port power strips
4   Lighting stands 3   10-foot three-port extension cord
1   Gel and diffusion jelly roll 2   25-foot extension cord
4   300-watt dimmers 1   Backdrop support bar
4   Ground wire killers 1   Overhead projector
1   Tungsten/daylight reflector 1   Client logo gobo
1   Lightbulb box 8   Medium steel spring clamp
1   Kino Flo 400-1 bank 2   Muslin backdrops
78   Chapter 4  Great Video Needs Great Lighting

Multicamera Talk Show

1   Studio space 36’ × 14’ 4  Zylights (LED lights) for colorizing
2   Kino Flo Diva Lites (400 w) background
4  Fresnel lights (100 watts to 200 watts) These can be switched for 100-watt
for backlight Fresnel lights with gels and dimmers.
4   Light dimmers 4   Directors’ chairs
2  Leko lights (750 watts or more) with 1   White triangle silk
logo. 1   White curtain
Videography for the Web
5
One of the quickest ways to destroy your video’s credibility is
through bad videography. If your camerawork distracts from the
show’s content, it can drive an audience away. Many produc-
ers of web video lack formal training in using a video camera or
composing their shots for artistic impact. We will touch on guid-
ing principles in this chapter to help those less familiar with the
craft of videography. Even seasoned pros will find this informa-
tion useful, because the computer or portable device screen has
different rules than a television production.

Web video crews are often lean

and multitalented.

Before we jump into specifics, let’s offer an easy-to-­remember

concept called the KISS methodology. Keep It Simple, Stupid—do
not overextend your skills and try to shoot everything with a
handheld camera unless you really know how. If you (or your
talent) aren’t great at doing repeated takes from different angles,
simplify and shoot with multiple cameras. The  goal with web
videography is attractive camerawork that can be acquired
quickly and consistently.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
79
80   Chapter 5  Videography for the Web

Camera Considerations
Choosing the right camera for your production is all about
balancing the requirements of the job, the equipment available to
you, and your budget. In this chapter, we’re not going to attempt
to talk you into buying a lot of gear. Rather, we’ll focus on differ-
ent equipment options that have worked well for our productions
and share our rationale for using the gear.
With that said, you may be in a situation where you don’t have a
lot of options. With that in mind, we’ll also address affordable “add-
ons” that significantly improve production quality or save time.
You’ll also learn about additional gear options for when you’re ready
to upgrade.
Let’s start by taking a look at essential features that your camera
should offer. Although you can always get by with less, we find that
cameras need a certain level of base performance (after all it’s kind
of hard to make a car with two flat tires and a missing battery climb
a mountain).

Things to Look For

When you look at cameras, there are lots of ­features to choose
from. In truth, there are only a few ­features that really impact the
quality of video that you’ll record. Here are the ­essentials that we
always consider.

Sensor
Cameras utilize charge-coupled devices (CCDs) or comple-
mentary metal oxide semiconductor (CMOS) sensors to capture
their images. Each technology has its strengths and weaknesses,

Three CCDs will help capture a

better image.
 Chapter 5  Videography for the Web    81

and neither is considered superior to the other. Although each

uses a different technology, their purpose is the same—to convert
the image seen by the lens into an electronic signal that can be
recorded to tape, disk, or drive.
Many consumer-oriented cameras only come with a signal
sensor, which results in a significantly poorer picture than cam-
eras that contain three chips. In cameras with three chips, a prism
is used to split the light entering the lens into red, green, and blue
components, and then each component is directed to a single
chip solely dedicated to a specific color. Additionally, you’ll see
that sensors are often identified by size. A 2 3 -inch chip is twice
as large as a 1 3 -inch one and generally will give you better image
quality.

Connectivity
Many cameras come with multiple connection types, includ- FireWire: A
ing USB2, HDMI, and FireWire. The one that works the best with Technology with
the most current editing applications is FireWire. All Macintosh Many Names
computers and most PCs include a FireWire port. If they don’t
have one, or you need additional ones, adding an expansion card If you are shopping
is a simple matter and ­generally costs less than $75. for FireWire
When you look at the camera body, you’ll generally see one ­technology, you’ll
often see it referenced by
of two types of FireWire connections. The full-size connector is
two additional names. Sony
called a 6-pin port. The primary advantage of the 6-pin port is frequently calls the
that it is a sturdier connection type. However, many smaller cam- ­technology i.Link, while
eras use the 4-pin connection type. Although this connector saves others favor the generic IEEE
1394, which refers to the
number given to it by the
Institute of Electrical and
Electronics Engineers. The
technology is identical; what
is at play here is a resist-
ance to use the FireWire
logo and name, which is
closely associated with
Apple, Inc., which co-devel-
oped the ­technology.
Adding to the confusion
is that there is FireWire
400 and FireWire 800.
The technology called
FireWire 800 uses a 9-pin
connection type and is
much less common. It is
generally used for higher
speed hard drives and is
not found on cameras.
Most cameras offer multiple connection types. Be sure to explore your options.
82   Chapter 5  Videography for the Web

space on smaller cameras, it is more prone to damage because

it uses a smaller connector type. Be careful to avoid tension on
your FireWire cables, especially if you are using a smaller, 4-port
­connection type.
Having a FireWire connection will let you load footage from
your camera directly into your editing system. This works well for
spot checks, chroma key tests, or sending the client a review clip.
You generally do not want to rely on the camera for loading all of
your tape, though, as the wear and tear can drastically shorten
the life of tape-based cameras. A better option is to purchase an
affordable feeder deck (even used is okay).
Other benefits of FireWire ports include the ability to harness
direct to disk recorders and monitoring devices like Adobe’s
On Location software (which gives you the ability to calibrate
your video camera for better results). Quite simply, you can’t
go  wrong with a FireWire port, so make sure your camera
has one.

XLR Audio Inputs

While we focused on audio in our last chapter, it’s important
to look at the bridge between your audio gear and your camera.
One audio connection type that is standard in the professional
world is XLR. Video cameras use the common 3-pin XLR cable
type, which is also called a balanced audio connector. This works
well for professional microphones because they can reduce noise.
XLR cables are both twisted and shielded, which helps cut down
on interference. The presence or lack of XLR inputs is one of the
key features separating consumer from prosumer and profes-
sional cameras.

What Is XLR?
The name XLR
connector refers to
its original
manufacturer, Canon. It
was originally called the
“Cannon X” series.
Canon then released a
version that could “click”
into place with a latch,
called the “Cannon XL.”
The final variation used a
rubber compound to
surround the contacts,
which gave the
abbreviation XLR.
 Chapter 5  Videography for the Web    83

High-Resolution Viewfinder
Keep Two Sets of
Cables Handy
A mantra that
we like to
repeat often is
this: 90% of all
problems are cable
problems. A bad cable
can destroy your
production. From pops in
the interview to a
flickering client monitor, a
bad cable can do all sorts
of damage.
Cables are cheap;
reshoots are not. To avoid
expensive problems, keep
two sets of audio, video,
and FireWire cables with
Don’t overlook the viewfinder in the eyepiece. This is often just as important as your camera bag. And
the large flip-out viewfinder. when a cable goes bad,
toss it and replace it.
Many users find giant LCD full-color viewfinders to be attrac-
tive. The problem is that many of these viewfinders are very low
resolution and often hide flaws in your video. Recently, higher-
resolution color viewfinders are appearing on a broad range of
cameras, while many professional video cameras still ship with a
high-resolution viewfinder that shows a grayscale image.
Whether using a camera with a color or grayscale viewfinder, it
is still a very good idea to use a high-resolution external reference
monitor to check color and focus. If the reference monitor is not
an option, then you can use the LCD as a last resort. But you will
still want to learn to use the viewfinder to check important details.
The benefit of grayscale is that it is often easier to see things
like exposure and focus when you remove the distraction of color.
Additionally, many prosumer and professional cameras are add-
ing focus assist features and even waveforms to their viewfind-
ers. If your camera contains these features, be sure to read the
documentation on how they work as this will help to ensure you
­capture the best image possible during your shoot.

Things to Avoid
Several camera manufacturers have been trying to integrate
direct to web publishing features into their cameras. Other elec-
tronic manufacturers have started to put video cameras into cell
phones and media players. Although these are features that are
designed to help bring web video to more consumers, we find
that they can truly get in the way of quality.
84   Chapter 5  Videography for the Web

Direct to DVD/YouTube/WMV
Many cameras boast features that make your video ready for
“instant” distribution. The problem is that the camera is heav-
ily compressing the video. For best results, you want to capture
video at the highest possible quality. You then edit the video
together and make any improvements needed. The final step is
compression with the intended target in mind. Most profession-
als in the digital photography world have addressed a similar
issue by dumping JPEG acquisition in favor of the much more
robust camera raw approach.
A simple rule of high-quality web productions is start high,
finish low. You should avoid shooting heavily compressed files,
because they do not offer you latitude when you are color cor-
recting or compositing, plus they can take significantly longer
to process on your computer. As broadband connection speeds
continue to increase and server space becomes cheaper and
cheaper, sites such as YouTube are changing their specifications
to allow larger files to be hosted on their site. By capturing your
video in a format that employs less compression, you will have
the ability to scale your productions to meet changing delivery
specifications.

Smart Phone and Flip Cameras

Several leading Smart phones and most of the Flip line
of video cameras now offer high-­definition (HD) recording
­capabilities at 720p. Although these types of cameras have
seen vast improvements, they’re still not well suited for web
video use.
Why, you ask? Well, resolution
is not everything when it comes to
camera quality. We still recommend
avoiding these types of cameras
for anything beyond spontane-
ous shooting. The main reason for
our opinion about these cameras
is they lack any real manual image
controls as well as professional
audio and video connections.
They can produce nice images
under ideal (outdoor daylight)
lighting conditions, but as soon
as you move indoors or the light
fades, your image quality suf-
fers. Again, cut corners on your
­camera, and you’ll pay for it dur-
ing the editing stage.
 Chapter 5  Videography for the Web    85

USB Video Conferencing Camera

Although it’s easy to come by video cameras that are suited for
instant messaging and videoconferencing, do not be tempted to use
these. These cameras generally have poor focus controls as well as
inferior lens quality. If you wanted your video to look like you shot it
on a webcam in a basement, you wouldn’t be reading this book.

Choosing an Acquisition Format

There are several competing tape and acquisition formats on
the market. Many formats are tied to specific manufacturers, and
you will hear competing claims of superiority as rival companies
try to establish dominance. That’s not to say that formats don’t
matter—they do in many cases. But let’s start with the bigger
question: Should you shoot standard- or high-definition video?

Standard-Definition Video
There are only a few compelling reasons left to shoot any type
of video in standard definition (SD), the first being financial. SD
video equipment is well established and readily available. As
such, it still costs less to use an SD workflow. Cameras cost less,
tape and storage media cost less, capture devices cost less, and
so on. Because producing video for the web is generally a price-
sensitive marketplace, standard definition is still a logical choice.
Plus, many of the shows on the market are delivered at 640 ×
480 or 320 × 240. Both of these sizes can be easily generated by
an SD video camera with minimal processing. It is important to
note that SD just refers to a category and not a particular format.
You will encounter several video ­formats that are all considered
standard definition.

When using multiple cameras,

try to match manufacturers and
models.
86   Chapter 5  Videography for the Web

DV/DVCPRO/DVCAM
The digital-video (DV) format launched in 1994 was
originally intended for use by prosumers and consum-
ers. Many pros embraced it, however, because of its ease
of use and price ­competitiveness. The format is very
space efficient—it only requires 12 GB of storage for an
hour of footage. It is also easy to load, as these cameras
and decks use the FireWire protocol. It also supports
both 4:3 and 16:9 aspect ratios, thus ­extending videogra-
phy options.
There have been some notable variants on the DV
standard. Sony released the DVCAM format, which moves the
tape 50% faster through the camera (resulting in fewer drop-
outs). Panasonic also developed the DVCPRO formats targeted
at professional use. The tapes for DVCPRO are much thicker and
sturdier, which works well for traditional tape-based editing.
The DV format works well for web video and is widely embraced
because of its balance of cost and quality. The one area where DV
footage is particularly problematic, though, is chroma keying. If
you are looking to use blue or green screen technology with virtual
sets, you should stay away from DV because it does not key well.

DVCPRO 50
The DVCPRO 50 format is an extension of DV tech-
nology and is available in many of Panasonic cameras.
The DVCPRO 50 format uses dual encoders to double
the bit rate of data being recorded. In tape-based cam-
eras, this format uses the same tapes as the DVCPRO for-
mat but consumes tape twice as fast when recording. In
addition to doubling the data being recorded, the format
also uses a higher chroma subsampling, which produces
better color fidelity and image quality. As such, DVCPRO 50 is
much better suited for chroma keying. DVCPRO 50 also supports
shooting both 4:3 and 16:9, which adds more flexibility to your
productions.

Betacam SP/DigiBeta/Betacam SX
Although it is a venerable format with a rich his-
tory, Sony’s Betacam option don’t see much action in
the web video space. Some established video produc-
tion companies utilize their legacy beta gear (which is
a high-quality ­format). The ­significantly higher cost of
the equipment, though, can quickly balloon a ­podcast’s
budget. As such, you should be wary of working with
footage acquired on Betacam. Additionally, the technol-
ogy is often considered “dead” by media pros because it
is waning in popularity as digital (and more ­affordable)
 Chapter 5  Videography for the Web    87

options become new ­standards. Sony has ­practically

­abandoned the format in that the company is not devel-
oping new products to sell and only carries one or two
models of decks for each format.

XDCAM
A much more viable format for those web video pro-
ducers who prefer to work with Sony gear is the XDCAM
format. XDCAM is an optical, disc-based system intro-
duced in 2003. It acquires directly to affordable discs that
often sell for less than $30. Each disc can hold between
45 minutes and 2 hours of content, depending on the
acquisition approach taken with the camera. Because of
the affordable media recording options and the relative
ease of loading footage, the XDCAM format has proven
popular with some web producers.

High-Definition Video

Although the production cost gap between standard-­definition

(SD) and high-definition (HD) video continues to close, it still
exists. Working in HD still requires more robust hard drives, bet-
ter monitors, more expensive cameras, and greater skill.
Acquiring video at high definition may seem contradictory
when the goal is to deliver small, web-ready files at an affordable
cost. With that said, many web video producers do just that. The
decision to shoot HD video is really about future-proofing your
footage.
Reasons to shoot for the web in HD include the following:
• The footage has residual value and will be used in future
productions.
88   Chapter 5  Videography for the Web

• The program is going to be distributed in multiple sizes and

formats, including devices like Apple TV and TiVo HD digital
video recorders.
• The project has additional distribution channels like broad-
cast or Blu-ray.
• You offer a premium subscription service with paid downloads
for HD files.

High-end HD cameras offer

multiple video and audio
connections.

It is essential to stress that working in HD adds cost to a proj-

ect. We find that HD projects tend to cost 20% to 30% more to
complete than SD projects. This is due in part to the aforemen-
tioned costs associated with gear. Additionally, you will spend
more time on tasks like rendering for graphics and effects as well
as see longer compression times when finishing the project. We
are not saying you should avoid HD—the many affordable cam-
eras and options on the market are very desirable—just be aware
of the additional costs involved. There are many HD formats on
the market; let’s explore some of the most common.

DVCPRO HD
The DVCPRO HD format is primarily used by Panasonic cam-
eras. It has gained significant popularity because of its balance of
cost and performance. DVCPRO HD is used for tape-based acqui-
sition as well as tapeless acquisition. The
tapes are interchangeable with the DVCPRO
and DVCPRO 50 format, but DVCPRO HD
uses four times more tape than DVCPRO.
The newer P2-based cameras were first
introduced in 2004 and utilize a solid-state flash
memory card. A P2 card can record either SD or
HD footage. The P2 postproduction workflow
takes a little time to master, but using P2 cards
works well for many web producers because
 Chapter 5  Videography for the Web    89

you can plug them directly into a computer, transfer the files, and
start editing. Although the cards are expensive, they can be reused
nearly infinitely. This saves money on tape stock and ­eliminates the
need for an expensive deck.

HDV/ProHD
The HDV format is a very popular format for entry-level
HD. This inexpensive format compresses HD video using
MPEG-2 compression (the same as DVDs) and then records
it to tapes identical to the mini-DV format. This compression
can create some workflow issues during postproduction and
often requires extra steps. Nevertheless, because it is the least
expensive way to move into HD production, many podcast-
ers and video professionals have adopted it.
HDV was originally developed by JVC and Sony, which
were later joined by Canon and Sharp. These companies
manufacture several different models of cameras targeted
at both consumers and prosumers. The format has also
been extended by JVC and called ProHD. The main dif-
ference is that it can natively shoot 720p at 24 frames per
second.

XDCAM HD
Sony’s XDCAM format was discussed earlier in the chapter.
Sony has extended it to offer an HD option. It is important to note
that not all XDCAM cameras can shoot HD, so check your options
when renting or buying a camera. Sony’s XDCAM HD options
offer different bit rates, so be sure to strike the right balance of file
size and quality. You’ll want to use the higher bit rates for more
visually complex materials like fast-moving shots, ­outdoor scenic
shots, and large crowds.
90   Chapter 5  Videography for the Web

H.264/AVC
H.264 or AVC (Advanced Video Coding) is a video compression
standard originally designed as a delivery format that some video
cameras are now using as their recording format. It is also the
default recording format for many very portable devices such as
smart phones. You will often find that you must conform this format
to a standard such as Apple Pro Res before you can work with your
footage in an editing program such  as  Final Cut Pro. Some DSLR
cameras also shoot video in this format. Currently, Adobe’s Premiere
Pro software can edit the files natively from some cameras.

AVCHD
This format was developed jointly by both Panasonic and
Sony and now can be found in cameras made by Canon and JVC.
It is based on H.264 compression standards and first appeared
in many consumer cameras before finding its way into the pro-
sumer market. It is used for both SD and HD recording. Recording
media in these cameras has ranged from DVDs / Mini Discs to
solid-state media such as SD and flash cards. Most video editing
The Impact of programs support AVCHD.
Compression During
Acquisition AVC-Intra
Try to avoid heavy This is a format introduced by Panasonic that conforms to the
compression H.264 standard and allows for high-quality HD production while
during the harnessing advanced compression technology that yields dra-
acquisition stage. Adding matically smaller file sizes. Many of Panasonic’s prosumer and
compression early on professional camcorders now record in this format. All major
makes editing tasks much video editing software now provides support for this format.
harder, as you’ll need to
transcode or render
footage in order to edit it. Digital SLR Cameras
Capture video at the The latest entry into the camera market that has created a lot
highest quality you can of buzz is video-capable Digital SLR cameras. Manufacturers have
afford, then compress after enabled high-definition video recording on cameras that were tra-
editing and color
ditionally only used for photos. The key advantages here are remov-
correction is complete.
able lenses, great depth of field control, and lowlight performance.
 Chapter 5  Videography for the Web    91

We highly recommend that web video producers pay atten-

tion to these cameras. Currently, the market leader is Canon, but
you’ll find models capable of shooting video from most camera
manufacturers. With large imaging chips and a wide array of lens
choices, you can now achieve cinema-like footage with a relatively
inexpensive tool.
If you want to learn more about these cameras, we recom-
mend the following resources:
• From Still to Motion: A Photographer’s Guide to Creating Video
with Your DSLR
• Creative COW’s DSLR Forum—forums.creativecow.net/dslr
• Facebook HDSLR page—www.facebook.com/DSLRVideo

Interviewer Tips
Becoming a good interviewer is an acquired skill that takes training and practice. For the less experienced, here are a
few helpful pointers:
• Edit in the camera. Encourage short answers and come back to topics again. Better to focus on good, tight
answers than trying to cobble together six takes to make your point.
• Avoid enumeration or the phrase “Like I said before.” It is highly likely that you will use only part of the answer
(such as step three, without steps one and two).
• Ask leading, open-ended questions, being sure to ask a single question only.
• Don’t be afraid to stop and start over. Do not let an answer ramble on. Smiles and nods can let subjects know they
have made their point and can stop talking.
92   Chapter 5  Videography for the Web

Camera Support Options

Many budding videographers shoot their video without using
a tripod. This is a terrible mistake, as few people should actually
shoot their video handheld. Although handheld video can be
used stylistically to great effect, it is rarely useful when it comes
to video that is intended for the web. The slight (or not-so-slight)
movement of the camera can result in pixelization or softening
when the video is compressed for podcast.
Now some of you think you’re better than this, so let’s take a
simple test. Stand up and extend your arm out directly in front
of you with your palm raised (like you are a traffic cop stopping
traffic). Now hold that position for 60 seconds without moving.
Look at your hand. Is it twitching at all? Chances are, the answer
is yes. It’s not your fault—you’re overworked, overcaffeinated,
and suffer from a lack of rest (in other words, you are part of the
modern workforce). Shooting smooth, handheld video is very
difficult. Here are a few options for camera support that you can
consider.

Tripod

It should go without saying, but use a tripod. There are sev-

eral price points out there on tripods, depending on how tall you
want the tripod to rise. The head of the tripod is also critical, as
you’ll likely need it to smoothly pan and tilt for your produc-
tions. A top-of-the-line fluid head can cost thousands of dollars
by itself. Luckily, with the advent of DV prosumer cameras, there
has been an influx of tripods with decent fluid heads at reachable
price points. Pros use tripods all the time; they are a given. Simply
put, use the best ­tripod you can afford!
 Chapter 5  Videography for the Web    93

Monopod
A monopod is good if you need a stable shot
in situations with great mobility. Think of it as
being halfway between shooting handheld and
using a tripod. A monopod uses a single leg to
stabilize a camera. You won’t be able to let go of
the camera and walk away, but the camera will
still be much less shaky. A monopod is also a
great option to reduce body strain when a tripod
is impractical.
© Fotolia
Steadicam
The name Steadicam is often
applied to several models of cam-
era stabilizers. In fact, Steadicam
is a brand name for a type of unit
originally developed by cinematog-
rapher Garret Brown in 1972. The
units are meant to help ­capture
smooth video when walking or
jogging with a camera. The opera-
tor generally wears a special vest,
which has a metal support arm that
is stabilized by a spring and coun-
terbalance system. Through the
years, many variations have been
created. You can find out much more by visiting www.­steadicam
.com and looking at the different models. For videographers using
consumer and prosumer cameras, the Steadicam Merlin offers a
great number of features at an affordable price.

DLSR Rigs
One of the biggest challenges
in shooting video using a DLSR
camera is dealing with the form
factor of the camera. For years,
professional video cameras rested
securely on shoulders. This allowed
for some degree of stabilization
when shooting. As cameras became
smaller, the industrial designers
gave thought to designing a cam-
era that was meant to be held for
extended periods of time.
94   Chapter 5  Videography for the Web

DSLR cameras don’t share the same form factor, as they are
designed to be held directly to the eye and freeze movement.
When shooting video though, the viewfinder is disabled and only
the rear LCD works. The form factor is just not ergonomic, and it
leads to lots of unwanted camera shaking.
To compensate, numerous manufacturers are bringing camera
support bodies for DSLRs to the market. These rigs range from
simple bodies designed to assist with the grip of the camera to
full-blown rigs capable of integrating accessories like focus con-
trols, lens filters, and additional audio gear. Two of the companies
with advanced rigs are Zacuto and Redrock Micro.

Other Stabilizers
There are many other camera support options on the market
for almost any budget point. Here are a few worth looking at that
can help stabilize your camera and give you better-looking video
when not using a tripod:
• Frezzi Stable-Cam (www.frezzi.com)
• Fig Rig (www.services.manfrotto.com/figrig)
• Turtle X (www.easyrig.com)
• Glidecam (www.glidecam.com)

Tapeless Acquisition Strategies

Earlier we discussed Panasonic’s P2, Sony’s XDCAM formats,

and DSLR. Both offer acquisition of video material without using
tape. These are not the only solutions; there are hard drive units
that can work with almost any camera that offers a FireWire
port. But why forego tape and shoot directly to a magnetic or
­solid-state media? There are several potential reasons.
 Chapter 5  Videography for the Web    95

Benefits of Tapeless Acquisition

There are many benefits of tapeless acquisition
that can impact the web video producer. The biggest
is the speed at which you can move from shooting
to editing. Eliminating the need to log and capture
tape can save you a significant amount of time. You
can begin editing your material as fast as you can
transfer the media to an editing system (which is
often 10 to 15 times faster than loading a tape).
Other benefits include that the tapeless media can
be used again and again. Although media like P2 may
seem expensive at first, value is achieved over time
because you do not need to keep buying tape stock.
You can also play back your footage quickly and
review your shots right in the field, deciding to drop
bad takes before ever going into an edit session.
Tapeless media can also make it easier to share
your footage with others. We often make multiple
copies of media so that several individuals can begin
editing at once. We also find it simple to turn inter-
view clips into MP3 files if we need to get material
transcribed quickly (the process of turning interviews into a text
log). This can be helpful if the material needs input from project
participants who’d rather look at a paper log or searchable text file.

Drawbacks of Tapeless Acquisition

When tapeless acquisition first became a reality, the biggest Don’t Edit Directly
drawbacks were the cost of the media and the complexities asso- from Tapeless Media
ciated with moving media management to the field. For example,
Although you
the first Panasonic P2 cards only held 4 GB of data and cost close often can edit
to $1,000. To record 30 minutes of 720p video, you had to plunk directly from a
down a minimum of $2,000 in cards and then have the equip- tapeless acquisition drive
ment and skill to do data transfer in the field if you wanted to or disk, it’s generally a
shoot more than a half hour of media. good idea to transfer the
Luckily, Moore’s law has held true in the world of tapeless acqui- media first to an editing
sition, and that same $1,000 will now get you an E series P2 card hard drive. This will
with 64 GB of storage, which means you could get close to three reduce wear and tear on
hours of 720p footage on one card. Sony’s SxS cards have seen the equipment and make it
last longer.
similar gain, and several models of prosumer cameras now use a
standard SD card as their recording media, which means even less
expensive recording media is available to the web video producer.
At this point, the only real argument for not using a tape-
less workflow is if you are restricted to using legacy tape-based
cameras because of budgetary constraints or if your client has
placed contractual restrictions on you that require tape-based
­deliverables of the field footage.
96   Chapter 5  Videography for the Web

So although the cost drawback of tapeless acqui-

sition has become much less of an issue, we still find
on many of our shoots the need for an additional per-
son on set, often called the data assistant. This person
fills a role similar to the person on film shoots who is
in charge of reloading and handling the film needed
by the cameras. Although this seems like an extra cost,
this person does the same work as an editor used to do
when loading footage from tape.
We cannot emphasize enough the need to have
that individual on the set if you’re working with disk or
hard drive–based media. On our shoots, we generally
make two backup copies of each card or disk. The first
copy is loaded into the nonlinear editing system via an
import command, which places the media on an edit-
ing hard drive. The second copy is a disk image, which
we back up to a temporary hard drive. After the shoot,
we transfer the footage to a RAID-protected hard drive
array and eventually to Blu-ray discs if the client wants
a set of “master tapes.”
Which brings up the next point. Without tape, you
may have no backup. Be sure your tapeless media is
redundant. You’ll need to make a mirrored copy of
your drive to keep your media ready to use. You’ll also
need to explore cheaper archive solutions like a pro-
tected disc array, DLT drive, or Blu-ray DVDs to create affordable
archives that can be stored for long-term backup.

Shooting for Portability

When you are shooting video for the web, you need to remem-
ber that the computer and mobile device screen behaves differ-
ently than a movie or television screen. Although web video can
be delivered to television sets with relative ease, odds are this is
the device with fewest amount of viewers for your video. So keep
the following in mind.

The Screen Is Small

We tend to favor tighter shots; that is a conscious decision.
Remember, video will likely be seen at a small size (some play-
ers are as small as 2 inches diagonally). Therefore, there are a
few things you need to keep in mind when composing your
shots. Tight shots work better than wide shots because much of
the detail will be lost by the time your footage reaches the small
screen.
 Chapter 5  Videography for the Web    97

Action Safe Is the New Title Safe

Traditionally, videographers have learned to frame their shots
to protect both the action-safe and title-safe areas of the frame. In
the world of TV broadcasting, monitors do not necessarily display
the entire frame of video. For this reason, there are two cropped
zones within the frame; both are equidistance on all sides from
the edges of the full frame. The larger of the two zones is referred
to as action safe, and the slightly smaller zone is called title safe.
The thinking is that when shooting or editing, if you keep the
action inside the action-safe zone and any key information such
as graphics and text inside the title-safe zone, then it will display
properly on even the most restrictive of monitors. In the world of
podcasting, you’ll see the entire video clip. Because of this, we have
basically done away with the concept of title safe and now just keep
what we really want on viewers’ screens inside of action safe. This
allows a ­little bit of padding (like a ­margin)
but maximizes the smaller screen.

Avoid Shaky Video

Because your source video is going to
get highly compressed before it is deliv-
ered to the web, it is important that your
shots be as steady as possible. Video
compression saves space by repeating
pixels that don’t change from frame to
frame. As such, your video will be much
clearer if it is a stable shot. Remember,
shaky video doesn’t compress well and
results in muddy-looking video.
98   Chapter 5  Videography for the Web

Recognize Lower Frame Rates

Web video and even podcasts can have reduced frame rates.
Combine this with lower data rates and you want to avoid much
camera motion. Lots of pans or zooms tend to break down during
compression process. For this reason, we recommend favoring
straight cuts rather than creating in-camera effects.

Evaluate Using 16 × 9
Shooting video in 16 × 9 aspect ratio has become quite popu-
lar. However, some web video is still delivered in the 4 × 3 aspect
ratio. If you decide to shoot in the 16 × 9 format, you should
­protect your shots for center cut during postproduction. This
concept is similar to the action-safe/title-safe concept described
earlier, but in this case only a portion of the side of each frame
will be trimmed during the edit or compression stages

Packing List for a Two-Camera HD Package

2   Panasonic HVX-200a camera 1   Panasonic BT-LH80WU 7.9” HD LCD field

6   5400-mah batteries monitor
2   Battery charger with AC adaptor 1   Slate and dry-erase markers
2   Sharpie markers 2   25-foot BNC cable
6   16-GB P2 cards 1   Anti-shine powder with applicators
1   Video adaptors and barrels bag 1   Makeup kit
1   Leatherman multitool 2   Sachtler tripod with plate
1   Lens cloth
 Chapter 5  Videography for the Web    99

Shooting Multicamera Productions

More and more web video producers have discovered
that multicamera shooting can speed up production and
­dramatically cut down editing time. This is because synchro-
nized angles truly make editing easier. But when it comes to
­multicamera editing, there is no “fix it in post.” Screw up the
technical details and you will have a difficult time putting the
pieces together.

Camera Requirements

Choosing the right cameras is the most important detail for

a multicamera shoot. This is both for aesthetic and technical
matching purposes. The different camera angles need to smoothly
cut together, or visual jarring can make your video hard to watch.
Here are some details to look for when selecting cameras:
• Matched codec/format. Ideally, all your footage will have the
same codec (compressor/decompressor). If you’ve mixed tape
formats (like H.264 and AVCHD), you may need to convert the
footage to match. You’ll also want to be able to match frame
rates so footage stays in sync.
• Number of audio inputs. Generally speaking, video cam-
eras offer two to four inputs. Depending on your number
of audio sources, more audio channels can really come in
handy.
• Tapeless acquisition. By recording direct to disk or cards, it’s
easier to record for long periods without interruption. Make
sure you have enough recording capacity to avoid having to
stop for a “tape change.” This will help you avoid continuity
breaks in the footage.
100   Chapter 5  Videography for the Web

Matching Cameras
The closer your camera settings match, the more likely the
footage will match when you go to edit it. You want the footage
to match as closely as possible. This requires you to make adjust-
ments to both aesthetic and technical properties. Be sure to look
at the camera menu settings and attempt to tweak them so the
cameras seem similar in appearance on a calibrated monitor.

Even though these cameras

aren’t identical, they are by the
same manufacturer. They also
can be set to shoot the same
codec and frame rate.

Be sure to match the following aesthetic settings:

• Color settings
• Gamma settings
• Shutter speed
• Black level
You’ll need to check several technical properties for each cam-
era. You need each angle in a multiclip to be technically identi-
cal for the multicamera editing technology to work. With this
in mind, be sure to match the following properties across each
camera:
• Timecode. Use the same method, drop frame or nondrop
frame, for each camera angle.
• Codec. If the cameras support different codecs settings, try to
match them.
• Frame size. Be sure your frame sizes match; you don’t want
mix cameras that are recording 720p with others that are at
1080i.
• Frame rate. Be sure to check that you have a precise match for
frame rates. Keep in mind that there are lots of different frame
rates these days with HD.
 Chapter 5  Videography for the Web    101

Color Calibration Tools

To get your angles to match up, make sure at the outset that the cameras have a good black and white balance on the
same subject in the same lighting. This is often a piece of cake when you’re in a professional studio with a chip chart,
but what about when you’re in the field? We have two favorite tools that are affordable and portable, and can help you
calibrate cameras in the field and double-check color balance in post.
• QPcard (www.qpcard.se). A cheap and easy way to address color calibration between your angles is to use a
calibration card when shooting. One of our personal favorites is the disposable QPcard. Priced at less than $5 per
card, this is a great investment in accurate color. Simply use the adhesive strip to adhere one to your clapboard at
the start of each day of shooting, and you’ll have a great source for checking color balance in post.
With a white, black, and neutral gray surface, it is easy to use the three-way color corrector when color correcting
in Final Cut Pro. Using a new one each day may seem wasteful, but $5 spent per shoot is well worth hours saved on
color correction. In most cases, it will only take three clicks per angle to calibrate across each camera.
• Photovision One Shot (www.photovisionvideo.com). This pop-up target is a great addition to a camera bag.
This calibration device offers a black, white, and gray stripe to color calibrate. The other side is a white flexi-fill
that can be used as a reflector to help bounce light on set. What’s great about it is that it is reusable and can fold
to a small size to fit into a camera bag. Various sizes are available, from 6-inch targets to wear around your neck to
34-inch targets for large multicamera events.
102   Chapter 5  Videography for the Web

Syncing Cameras
To edit between camera angles,
you’ll need to keep them in sync.
This way as you cut from one angle
to the next, you won’t see a skip in
the audio track. There are several
ways to do this. The most profes-
sional method involves using time-
code, whereas other approaches
rely on audio or visual sync points.
Here’s a quick rundown on
how you can synchronize multiple
angles:
•  Slave cameras together. It’s
often possible to “jam” two
or more cameras together. By
taking the timecode from one
camera and feeding it to the
other, sync is possible.
•  Time of day timecode. Some
cameras let you set timecode
to a clock. Be sure you’ve accu-
rately set the clocks on all cam-
eras to match.
•  Use a clapboard. When picture
and sound are recorded to two
different systems, it makes it
easy to synchronize, because
there is a visual and audio cue
point. The same holds true with
multiple angles. Simply point all
your cameras at the clapboard
Once camera angles are synced, the editing process can go much for the initial sync and to resync
more quickly. if any camera stops recording.
Telling Your Story
6
with Visuals

The whole point of creating web video is to use the power of

images to educate, entertain, or motivate your audience. Without
compelling visuals, you have just a bunch of talking heads.
Depending on your approach, you may need photos, videos,
slides, screen captures, or motion graphics. In this chapter we’ll
explore the many options for footage that you can use to tell
a story. A professional podcast or web video needs the “whole
­package” to complete the viewing experience.

Web videos take more than just camera footage. The use graphics can quickly
provide important information to the viewer.

We recognize that web videos often face a constrained budget.

Learning how to make a lot from a little is a key skill for success-
ful publishers. In this chapter we’ll explore several options for
improving the quality of your web video with effective visuals. We
encourage you to implement as many of these ideas as your bud-
get and narrative approach will support.

103
© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
104   Chapter 6  Telling Your Story with Visuals

Working with B-roll

The term B-roll has held many meanings through the history
of film and video. It originated in the days where two prints of a
film would literally be spliced together to tell a story. During the
days of linear video editing, it came to mean the footage playing
in a second deck (or B) that was edited into the primary sources
or interviews coming from the primary (or A) deck.
The term has been further modified and has come to be
regarded as a broad category of footage that is used for a success-
ful edit. As you remove unwanted parts of a performance or inter-
view, you’ll need to cover the edits (otherwise it is a jarring edit,
called a jump cut). The technique of using a cutaway is a great
way to hide unwanted camera movement as well. You can also
use it to hide unwanted coughs, ums, and uhs by your subject.
Besides technical necessity, B-roll can significantly add to an
audience’s understanding and enjoyment. The visuals can help
enhance or tell the story besides the on-camera interviews. By
showing what is being discussed, your web video moves from
being talk radio with visible heads toward the approach of televi-
sion and film. There are several sources for B-roll, but you need to
start thinking about it early on with your productions.

B-roll Acquisition During Production

Be sure to plan ahead. You’ll
likely have many great things
that happen during your shoot.
One approach is to capture visu-
als while you are shooting the
principal coverage. This is usually
accomplished by using a second
camera that focuses on additional
footage. For the example of a
cooking show, this camera would
generally stay close on the hands
of the chef as they prepared food;
it might also provide close-up
details of the prepared food.
Other programs take a paral-
lel approach to capture events that happen related to the video’s
subject. For example, you might be profiling a topic like car resto-
ration. Although the interview with the subject matter expert can
be compelling, adding visuals of the topics being discussed can
really improve comprehension and viewer enjoyment.
In both cases, be sure you leave time in the schedule to go
and acquire footage. We often bring an extra camera on location
 Chapter 6  Telling Your Story with Visuals    105

so the producer can step away and capture some more footage.
This  all ties back to the advice of having a multitalented crew.
You’ll often be able to cut a person free from your set to gather
visuals. What’s important is that you generate a shot list before
the shoot day. List your anticipated needs, and then quickly move
to ­capture the material.

Stock Sources
There will be times when you won’t have the time to shoot
B-roll. Or maybe it’s raining. Perhaps the event being discussed is
historical, or on the other side of the world? The bottom line is that
you’ll often need to get creative in where you find your visuals.

Archive Materials

Several high-resolution clips

from the Prelinger collection are
available at www.archives.org.

There are several sources of publicly available footage that can

be freely used in video projects. This material generally comes
from government-funded archives (such as the United States
National Archives). There may be small fees involved to get cop-
ies of footage, but the material can be often used with few or no
restrictions. A great place to start your search is www.archives.gov/
research/formats/film-sound-video.html. Another place you can
browse is www.archive.org, where you’ll find several different col-
lections (just be sure to read the usage rights for the footage you
want to use).
106   Chapter 6  Telling Your Story with Visuals

Trade and Business Groups

You can find professional groups on almost any topic or indus-
try. These groups often have footage or photos that they will share
(don’t just take it from their website; contact their communica-
tions or media relations departments). Additionally, groups such
as chambers of commerce and tourism boards often have great
footage that they can make available to you. If you’re tackling top-
ics like health or education, there are numerous nonprofit groups
that can offer you free footage to use (just contact their marketing
or public relations departments).

Old Productions
If we are producing web video for a client, we’ll often ask for
copies of previous videos they’ve made. This can be a great source
for video materials. Your own archive is also a great place to start
if you have rights to the images. Be sure to follow the rabbit hole
down; you may need to trace a project back to the original vendor
to get the highest quality source materials.

Stock Footage
If you can’t procure, acquire, or locate footage, you can often
buy it. Stock footage costs can vary greatly; the two biggest factors
in cost are uniqueness of footage and exclusivity of use. There are
several vendors for stock footage. Here are a few that we turn to
do the following:
• Artbeats (www.artbeats.com)
• CNN ImageSource (www.imagesource.cnn.com)
• Digital Juice—Video Traxx HD (www.digitaljuice.com)
• iStockPhoto (www.istockphoto.com/video.php)
• Revostock (www.revostock.com)
By using stock photos and free
• Shutterstock Footage (www.footage.shutterstock.com)
government resources, a more
visually compelling story can
be told. Working with Photos
Many web video producers
overlook the power of still photog-
raphy. In our experience, photos
are a fantastic alternative to video.
Photos are generally easier to find
or acquire, and thus less expensive
and more plentiful. We’re big fans
of taking our own pictures when-
ever possible. Cameras are a great
way to bring on shoots, as many
are capable of shooting both stills
and video (thus a potential solu-
tion for the B-roll problem too).
 Chapter 6  Telling Your Story with Visuals    107

The amount of royalty-free stock photography sites has

boomed, with many offering affordable images or subscription Google Image Search
Is Not a Candy Store
plans. The Internet is filled with thousands of sources for stock
photos; a simple web search will inundate you with hits. Just because an
There are also free sources for images, but you’ll often need to image is free to
do some research. Rather than sending you on a hunt- and-peck view on the Internet
mission, let us offer three great resources: does not mean it can be
used freely. We know many
• Richard Harrington Blog. Rich Harrington keeps a list of
producers who turn to web
government websites with images available for free use. You
search tools like Google
can find the directory at www.richardharringtonblog.com/ Image Search to find
resources/free. photos for their videos. This
• Creative Commons. If you are looking for generous folks will- is generally illegal and can
ing to share their photos, then check out Creative Commons get you into a lot of trouble.
(www.creativecommons.org). Just be sure to check the require- There are many affordable
ments for an image’s use. stock photo websites as
• Wikimedia Commons. The folks behind Wikipedia maintain a well as photo communities
large catalog of supporting images (and footage). You’ll often where images are freely
find the images in articles (be sure to look for the Wikimedia shared. Don’t be lazy; it
might get you sued.
Commons logo and terms of use). You can also access the
library directly by visiting commons.wikimedia.org.

Avoid JPEGs at
Enhancing Images All Costs
Although not
exactly malevolent,
JPEGs should at
least be considered evil.
After all, the file type loses
additional quality with each
File >Save. The compression
scheme used in JPEG files is
also problematic when
mixed with many common
video formats. This can lead
to jittery images and
flashes. Remember that
JPEGs are a web distribution
format; the only reason
some digital cameras use
JPEGs is that they are
We’ve never come across a direct-from-camera photo that targeting consumers or
couldn’t be improved. Some of the most common adjustments trying to reduce the cost of
to photos intended for podcast screens are boosting the satura- storage media. You should
tion and adjusting the gamma or levels for the image. The num- either shoot your images as
ber one software application for these tasks is Adobe Photoshop. Camera Raw files or batch
If you need to prep images for use in video, be sure to check out convert your JPEG files to an
uncompressed format like
the podcast and the book called Photoshop for Video. There’s lots
TIFF or PSD. Trust us when
more information on preparing still images for use with digital
we say avoid JPEGs.
video.
108   Chapter 6  Telling Your Story with Visuals

Resolution Requirements
For maximum image clarity, it’s a good idea to properly size
your images to match your editing screen size. Otherwise your
editing software will have to scale the images. This leads to an
increase in render times and a major drop in image sharpness.
Although there are several ways of doing this, one of the easi-
est is to use Adobe Photoshop. A fast way to do this is using the
Image Processor Script (File > Scripts > Image Processor). With it,
you can target a folder of images and set a target output size.

Creating Moving Footage

One additional technique when working with stills is employ-
Want to Move ing motion control to animate your photos. Some users call
Pictures? this the Ken Burns effect. By animating a photo, you can create
For a free web zooms and pans to help guide the viewer’s eyes through a photo.
tutorial on Motion This technique has been popularized by many documentary
Control techniques ­filmmakers and is quite effective.
with After Effects, visit In our opinion, the best way to do this technique is with
Creative Cow’s website at Adobe After Effects. It offers precise controls and advanced
library.creativecow.net/ options to make simulated camera moves appear more natural.
articles/harrington_
These ­techniques can be accomplished in most editing tools,
richard/doc_style.php.
however, through the use of keyframes or specialized plug-ins.

Working with Screen Captures

If you are producing technical training video or need to show
something like a website or a video game, then you’ll need to use
a screen capture tool. There are software programs that allow
you to record what is happening on your computer’s screen. The
software can create a video file and store it on a hard drive so
you can edit it with your nonlinear editing software. Let’s start by
looking at some of the popular tools.

Screen capture software

is needed if you want to
record a computer screen for
creating how-to tutorials or
demonstrations.
 Chapter 6  Telling Your Story with Visuals    109

Software Choices
Although there are several choices out in the market, a few
really stand out. The Macintosh platform has several more
options than the PC world (go figure). Here are a few proven ones
that do a great job:
• iShowU (www.shinywhitebox.com). This tool creates remark-
able computer screens for Mac users. It is reasonably priced
and does a great job of writing files to disk as it captures
(which makes them ready to use in moments).
• Snapz Pro (www.AmbrosiaSW.com). This is another Mac-only
tool for capturing both static and motion screens. This tool is
very established, with many users. We prefer it for capturing
stills, but find that it waits until you stop capturing to write to
disk. This can hog RAM and can be quite slow.
• Screenflow (www.telestream.net). This tool is really an all-in-
one suite. Although it captures the computer screen, it can
also record a video camera and even build basic graphics for
keyboard shortcuts. The tool is Mac-only, but it is a popular
solution for screencasters.
• Camtasia Studio (www.techsmith.com). This is a cross-
­platform solution that writes very small files. It can then write
out to virtually any video format.
• Screenr.com (www.screenr.com). This web-based applica-
tion is a free option for recording the screen. Although you are
limited to five minutes, you can post directly from the site to
YouTube or Twitter. You can also save the file to your computer
for additional editing. We find this cross-platform application
works best with the Firefox web browser.

Capture Strategies
We have found that getting high-quality screenshots can be
tricky. Fortunately, we’ve had lots of practice in working with these
tools. There are several factors that contribute to success. Here’s
some hard-earned advice we’ve found over the past five years.
To use screen capture tools, you’ll need a pretty powerful com-
puter. Be sure to boost your system’s RAM; screen capture soft-
ware needs plenty of it. You’ll also want at least a 128 MB graphics
card. A dedicated-capture hard drive (preferably a high-speed
RAID) connected via FireWire or SATA is also needed.
If you’d like to get the best results, capture at the size you
need. For example, use the square pixel equivalent of 640 ×
480 if you are editing a 4:3 podcast. It’s important to note that
you may need to use a higher resolution monitor setting, such
as 800 × 600 or 1024 × 768. If this is the case, you can compress
the files after capture and resize to a nonsquare pixel size like
110   Chapter 6  Telling Your Story with Visuals

iShowU can capture full-screen

video at standard frame rates
including 24p.

720 × 480. If working in HD, then be sure to use a 16:9 aspect

ration (such as 1280 × 720 or 1920 × 1090).
If you’d like to have more flexibility during the edit, you can
instead capture the video larger than you need. Then simply
bring the video into a resolution-independent nonlinear editor
(such as Premiere Pro or Final Cut Pro). These types of nonlinear
editing packages allow you to load images that are bigger than
standard video sizes. Once you’ve edited the screen capture in
your timeline, you can apply scale and position values to adjust
what the viewer sees.
One area that can be problematic with screen capture is frame
rate. Some software tools support capturing at video native frame
rates. However, you really need a powerful computer to perform
Final Cut Pro Quality these styles of capture. If you can’t get a consistent frame rate,
Control we recommend running your captured files through a compres-
sion tool and converting to a consistent frame rate. Ideally your
Be sure to open
your sequence
file will end up at 29.97 or 25 frames per second (fps) to match
settings in Final Cut NTSC and PAL, respectively, or the newer 23.98 fps, which is used
Pro (Sequence > Settings). by most 24p cameras.
If you’re using screen- If you need to capture a computer screen, you’ll need to
captured files, click the avoid the DV or HDV codec. A codec is a video format’s com-
Video Processing tab and pressor/decompressor. For best results, you’ll want to minimize
change the Motion Filtering the compression applied to the screen capture. Be sure to check
Quality pop-up to Best. which “uncompressed” formats your nonlinear edit system
supports.
 Chapter 6  Telling Your Story with Visuals    111

Analog Screen Captures

Sometimes, capturing a computer screen using a software tool will be impossible. For example, you may need to record the
screens of multiple presenters at a conference or you may have to capture a video source directly from a projector. Don’t
worry; this too is possible if you use an analog video capture device. The biggest drawback is that the files will likely be
larger and a little less clear than the software capture tools.
To successfully capture a computer screen’s analog signal, you’ll need the following:
• A computer that is capable of mirroring its video output so you can see what you are doing on the computer’s
­monitor and still drive an image on a plugged-in device such as a projector or a second monitor.
• A scan converter that lets you feed
in the computer’s image via a VGA
or DVI connection and then converts
the signal into analog video. These
devices are readily available if
you are looking for an S-video
connection type. For maximum
image quality, however, you should
look for a scan converter that offers
a component connection such as
those from Comprehensive/Kramer.
• A video capture device that accepts
analog inputs. Ideally this device
will allow resolutions above DV
compression. You may already
have a device like a capture
card or breakout box that allows
you to capture directly into your
computer. Slightly less desirable,
you could record to a high-quality
tape format and then capture.
• High-speed hard drives that can
work with the uncompressed
video. It’s important to note that
the files can be quite large and
demanding if you are used to a
DV or HDV workflow.
• Editing software that supports an
uncompressed workflow. You will
want to have very high quality
sequence settings so the screens
are as easy to see as possible.
112   Chapter 6  Telling Your Story with Visuals

Working with Speaker Support/Slides

Many presenters use slides to reinforce key points as they talk.
Common software tools include Microsoft PowerPoint and Apple
Keynote. These tools can be used to create text and informational
graphics that can be quite effective. When used correctly, you can
create informational graphics that match the quality of broadcast
news. Although these programs can create effective visuals, you’ll
need to process the images a bit to make them ready for web video.
Be sure to leave a slight pad
around the border for all slides.
These edges make it easier to Design Slides Properly
read on a smaller screen by By default, most slides are not optimized for video. Text can be
allowing a margin. hard to read, or even get cut off. Don’t worry. It’s a pretty easy fix;
just follow these guidelines:
• Don’t go too close to the out-
ermost edge. Leave at least a
10% margin around the out-
side edge of the screen.
• Simplify your message. Try
reducing the length of your
bullet points and spreading
your slides’ content across
multiple slides.
• Increase the size of your type.
The web video is often played
back on a small screen; use a
larger and thicker font.
• Increase contrast of the text
to the background. For best
results, try using light text over
a dark background.

Export Still Graphics

To use slides in a video-editing tool, you’ll need to convert
them to a standard graphic file format. It’s important to note that
you won’t be able to edit the content of these exports. Be sure
to proofread your slides before export and to keep a copy of the
original around in case changes become necessary.

Microsoft PowerPoint
Microsoft PowerPoint makes it easy to save your slides as
graphic files. PowerPoint supports seven different graphic for-
mats, including the versatile TIFF and PNG formats.
1. To save your slideshow as a series of still graphics, open your
presentation in Microsoft PowerPoint.
 Chapter 6  Telling Your Story with Visuals    113

2. Click the Office button and choose Save As Other Formats.

Near the bottom of the Save dialog box is a Save as type: drop-
down menu. Pick the file format you need (such as TIFF).
3. Specify a location for the files on your hard drive and click
Save.
4. PowerPoint then gives you three options: export Every Slide,
Current Slide Only, or Cancel.

Apple Keynote
If you are using a Mac, you should strongly consider using
Apple’s Keynote application, which is part of iWork. This program
is similar to PowerPoint (and can even open PowerPoint files).
To export slides, simply choose File > Export. There are two key
differences that make Keynote desirable for preparing slides
for a podcast.
• Keynote anti-aliases the text on the slide. This process helps
reduce flickering text and makes it look better on a video screen.
• Keynote can export slide animations (such as charts) in a
QuickTime format. This adds a lot of life to your podcast.

Motion Graphics
Getting your web video graphics to look their best and work
effectively often comes down to how they are designed. It is impor-
tant that your graphics are easy
to use and modify, as well as look
great on their intended playback
devices.
The advice we offer here is
specific to web video graphics.
However, if you are inexperienced
with broadcast graphics, we stron­
gly recommend additional ­reading
and practice. See the advice in
this chapter as being the ­essential
information. Here are the key
points we’ve learned when design-
ing graphics for web video and
podcasting.

Screen Size
Web video graphics often play back at a small size (such as a
width only 320 pixels). Even though many web videos are pro-
duced and delivered in HD, the maximum screen resolution that
most watch is only 640 pixels wide.
114   Chapter 6  Telling Your Story with Visuals

What quickly becomes apparent is that you should build

your graphics to match your editing (and not delivery) standard.
This means use the presets that match your shooting format. All
motion and standard graphics applications offer templates or
preset settings to simplify this process.

We recommend building your

podcast graphics at standard
video size, then edit with your
video. You can always resize
the entire episode after editing
with compression software.

As such we usually build the graphics to match the acquisition

format (such as 720 × 480 with nonsquare pixels for NTSC and
720 × 576 in nonsquare pixels for PAL). We assume that the show
is probably going to get reformatted and could end up on a DVD
or even be broadcast. Working at the size at which the video was
acquired speeds up editing and rendering times.

Codec Issues
The video camera you use will often highly compress the foot-
age as it shoots. For example, if you are shooting video using

The graphic on the left is an uncompressed original. The one on the right has standard DV compression applied. The
differences are subtle, but they are most evident in the small text details and glowing areas.
 Chapter 6  Telling Your Story with Visuals    115

mini-DV, DV Cam, or DVCPRO 25 formats, you are likely using the

DV codec in your sequence. This codec is essentially throwing
away three-fourths of your graphics information, ­“smooshing”
your graphics to heck. It would be the equivalent of shooting a 
beautiful photo with your digital camera and then only being able
to deliver it at a JPEG set to low quality.
There are two ways to work around these limitations:
• Mixed formats. Some nonlinear editing systems allow you
to mix resolutions in the timeline. In this case, your footage
can be heavily compressed, whereas graphics use a lower-
compression format.
• Switch settings. If your sequence doesn’t support real-time
performance with mixed formats, then you should edit your
video in the correct native editing (matching sequence set-
tings to the primary camera acquisition format). Once your
content is locked down, you can add your graphics. At the
end of the production, switch your sequence settings to an
Kiss of Death
uncompressed codec for finalizing. This way when you export
your self-contained QuickTime movies to compress them for The digital video
web delivery, they come out very clean. codec instantly
Remember that the goal with video compression is simple: throws away three-
start high, and finish low. The better quality image you feed into fourths of the work you’ve
the podcast compression software, the cleaner and smaller file done and makes it look
terrible. Be careful if you’re
you’ll get out. The original file doesn’t need to play back smoothly;
working with DV footage;
it only needs maximum image quality. do not finish your sequences
The codecs used for web delivery are primarily designed using the DV codec.
for video sources (and not graphics). As such, there are a few
things to consider when building motion graphics. If your
compression software encounters really flat areas of color, it
Motion Blur Can
will often try to oversimplify the material and overcompress it. Be Good
Many graphics will look terrible because they’ve been overly
compressed. We get around this by putting a little texture or Most motion
gradient into the graphics. Another way to improve quality is graphic
applications
to use motion blur. Modern video codecs can support relatively
support the use of motion
fast motion.
blur. This rendering option
adds a gentle, directional
blur to fast-moving objects.
If you don’t use motion blur,
Font Selection your graphics may actually
Fonts are critical to a successful design. Be sure to invest in compress poorly for the
a font for your web video that is unique (and that didn’t come web because video codecs
preinstalled with Microsoft Office). You need to find a visual are designed to work with
identity for your podcast, and good use of type is an easy way video most often. In the real
to do it. Yes, you’re going to have your favorites—your clas- world if you’re shooting
with a video camera, if
sics—but you need to find a font that gets used for show titles
something’s moving fast,
that complements the logos, the set, and the colors in your
it has motion blur.
graphics.
116   Chapter 6  Telling Your Story with Visuals

Take a look out there; there’s a typeface that has your video’s
Find a Video’s personality. Something that is unique and helps convey the char-
Personality
acter of your show. Here are a few of our favorite type foundries:
When we start a • Chank (www.Chank.com)
new video project, • Dinctype (www.girlswhowearglasses.com)
we try to get the • Blue Vinyl (www.bvfonts.com)
client or those involved to • Acid Fonts (www.acidfonts.com)
describe the video with
• Fontalicious (www.fontalicious.com)
adjectives. We call it the
adjective game. We ask
for 10 to 20 words to
describe how the video
Text Placement
should feel. These words Remember that web videos are often viewed at a small size. Be
can be used to help you sure to set your display window to a lower magnification to simu-
select your font choice (as late viewing the video on a smaller screen. Be sure to make the
well as everything else text larger and easier to read.
after that). The font choice
is one of the biggest things
that impacts overall style
and truly sets the tone for
your graphic identity.

Mixing Cases
We often
recommend a
mixed approach
The graphic on the left keeps all text within the Action Safe zone used by
when choosing font case. If
broadcasters (the innermost 90%). In traditional video, text and logo elements are
you have larger enough
kept within the title-safe area (the innermost 80%), as shown by the graphic on
letters, you can use a
the right.
mixture of upper and
lowercase letters (which will
be easier to read). This In broadcast graphics, designers usually use a safe title grid
gives you better variation that identifies two zones: title safe, which is the innermost 80% of
between individual letter the graphic and where all text should fall, and action safe, which
shapes so the human eye
is the innermost 90% and where all essential design ­elements
can more quickly read it
should fall. In broadcast, if these are ignored, text can  become
and cognitively process the
information. If you have a difficult (or even impossible) to read on a television.
very small space, then you For podcasting, you can treat the action-safe guides that
might switch to a small caps most graphics programs offer as your title-safe zone. Go all the
style. This will switch all of way out and just leave a 10% margin around the outside edge
the characters to uppercase of the podcasting graphic so the text doesn’t get hard to read
but will leave the capital by being too close to the edge of the computer screen or the
letters larger. This takes up edge of the portable media player. By keeping all text within
less space, but you need to these guides, you ensure that it is easy to read on the portable
leave the graphic up longer screen or computer. However, if your show is going to be used
because it takes more time
in both traditional and podcasting situations, you may need to
to be read.
create two master sequences for the different graphic standards.
 Chapter 6  Telling Your Story with Visuals    117

Contrast

How does the graphic hold up

With web video graphics, contrast is key. Does the graphic still when you remove color and just
work when you remove color? If it does, this means that you have look at contrast? The middle
proper contrast and you are ensuring that your audience has an of this animation looks a little
easier time comprehending the information. low contrast, but where it really
You’ll want to check your graphics in grayscale mode. If they’re matters for the end sponsor
still easy to read, then they’re easy to read. One way to do this is to logo, contrast is proper.
add an adjustment layer in your graphics application with a hue/
saturation effect. By pulling down the saturation, you can strip
out the color.
Another way to accomplish this is to print them out in gray-
scale mode to a printer. These are both simple, but good tests.
If the graphics hold up, then you’ve got a good balance of ­contrast For this video, it was important
and luminance. Proper contrast is essential, as it affects how to find the right balance for
­easily the viewer can comprehend the information. the background images. The
client wanted to create an
active virtual world, but also
Busyness of Background to Foreground communicate several ideas.
118   Chapter 6  Telling Your Story with Visuals

In recent years, the evolution of the stock animation market

Power Windows has led to a terrible problem. In the quest to stand out from their
We often use a competition, several manufacturers of stock animation have
power window (or made their backgrounds more and more elaborate. As such,
a vignette) around we’ve gotten to the point where backgrounds are too busy and
the edge of the screen. compete for attention with foreground elements such as text.
This can be an effective A  background is just that, a background. We find an easy solu-
way to draw a viewer’s
tion is to blur and darken our backgrounds.
eye to the center of the
screen. We do that
because people watching Type on Pattern
videos on mobile devices
often have lots of things Related to both the contrast and busyness of the image is the
around to distract them. type-on-pattern issue. What often happens in video is that text is
The more you draw their placed over a busy or moving background. As such, white text can
eyes to the middle of the intersect with a bright area in the background and become diffi-
screen, the more they’re cult to read. This problem is easy to address.
watching your content. First make sure that your font choice is relatively thick. A heavier
font will hold up better on the video screen. Then add a contrasting
edge such as a stroke or drop shadow. Light text should get a dark
edge, whereas dark text should get a light edge. Take advantage of
contrasting edges to make the text easier to read.

The use of a solid bar helps the text stand out to the podcast viewer (even when viewed at a small size). The use of
uppercase letters was a stylistic choice, but it also helped readability and kept the text blocks more compact. Finally,
a drop shadow was added to some elements (such as the logo) to address the moving background.

Additionally, try to keep lines of text shorter. This is because

of how web videos are viewed. For example, on the small screen
of an iPod, larger text in smaller blocks is easier to read. A viewer
watching on a laptop may blow the video up to full screen. In this
case, it’s going to get pixilated. If the font is thicker and has con-
trast, it won’t fall apart as badly. Fortunately, these guidelines
work well for both viewing scenarios. In a confluence of circum-
stances, thicker, larger text generally holds up better through
compression and at scaled playback sizes.
 Chapter 6  Telling Your Story with Visuals    119

Testing Graphics
If you want to see how your graphics are going to look on the web, then you need to test them. We subscribe to the
belief of pushing graphics to the point that they break, then backing off a “few feet” and you’re good.
Most people subscribe to an overly conservative view of the web, which is, “Oh, we want to serve the least common
denominator.” They’re concerned that a person standing on top of the Colorado Rockies with an Edge cell phone
connection can view a high-definition video and have a pleasant experience.
Screw that. This is not your target audience or whom you’re trying to please.
If your primary audience is people in office buildings, go to a couple of office buildings and look at the video. If you
want to see what it looks like online, drop it to your private YouTube channel at low quality and take a look at it. Put it on
a portable player and look at it.
We test our graphics throughout. As we are starting to build things we do test compressions along the way. Closely
examine the effects of compression, then make decisions.

With animated sequences, the “read-aloud” rule still applies. Be sure your audience understands each element by
giving it enough time to be easily read twice, out loud.

Read Times
Many motion graphic designers and editors seem to for-
get that graphics are actually meant to be read by an audience.
The idea with read times is that you want to be able to read the
graphic out loud, preferably twice before removing the graphic.
This is an old broadcast standard for a good reason.
Unfortunately, most motion graphic designers are watch-
ing their motion graphics play back at less than real-time speed.
Instead, they choose an arbitrary number like three seconds.
Remember, you are adding graphics to enhance the viewer’s
understanding. Allowing the graphic to be read aloud twice
ensures that the viewer has enough time to read the graphic
while still absorbing the other information being presented­
simultaneously by the host or B-roll.
120   Chapter 6  Telling Your Story with Visuals

Who Are You?: Creating a Graphic Identity

Production
If you want your web video to stand out from the clutter,
Company Credit
motion graphics are the way to succeed. By giving your show a
We are big polished graphical identity, you make it easier for your audience
proponents of to connect with your program. Even more important, because
following video-sharing site viewers will typically outnumber viewer’s on
broadcast standards. At the your website, a graphics package helps establish the author and
end of nearly all network
sponsoring organizations.
programming is the
A well-designed graphics package can help establish the topic
production company logo.
We always try to place of your show as well as reinforce its personality and style. The
our logo at the end of show’s graphics essentially create its brand. This is essential to
programs we work on both attracting and maintaining your audience.
(at bare minimum, our
company’s name in the
show credits). We make the Flexibility
argument that it’s just like a It is essential that your graphics be easy to modify. You’ll often
broadcast TV show, where need to make tweaks to your content to freshen it for changes in
you see the production current events. You may also find that a popular video may need
company logo at the end. follow-up content or updates based on viewer feedback.
In our minds, this adds a
professional feeling to the
entire package, and it is
certainly a benefit to the
production company.

Two very different shows, same principle in ease of production. By keeping show
Start at the Beginning
titles easy to modify, you will save significant time in producing custom graphics.
If you’re working on
a project that is
sponsored by a We employ two primary techniques to ensure flexibility:
client or is tied to a bigger Prerender. The first method involves prerendering elements
program, be sure you and adding them to a template sequence. Essentially every-
respect the existing identity. thing except the text or media placeholder (for a headshot or
Ask to see any existing video) is rendered in advance. For example, in our weekly
graphic materials (even if shows we only need to add the title and the host’s name. This
they are print or web makes changes simple and results in a short render time (often
based). This is often an easy done by the video editor). With easy-to-modify graphics, it is
way to find the right fonts as not a challenge when it comes time to pump out 40 graphics
well as the color palette.
for a series.
 Chapter 6  Telling Your Story with Visuals    121

Use edit points. The other technique involves creating edit

points right within your graphics. In almost all of our podcast Start Simple
graphics, we find a way to creatively dip to black or dip to a color. When building a
This makes it easy to edit the show title or attach it to the body graphics package,
sequence. This has several ramifications, including ease of use we usually tackle
and rebranding. the background and the
On several shows, we have had to go back to our library of pre- lower third first because
those are some of the
viously edited shows and simply copy and paste the new graphics
easiest graphics to put
onto the front. These quick updates let us keep old shows looking
together. They’ll also
fresh. We know that we will change the look of graphics packages serve as the cornerstone
from time to time in order to refresh our content. We don’t want for a lot of your other
to have old graphics in our episodes because it sends an incon- graphics by providing the
sistent message. The lesson learned is that you want to make it fonts, color, and texture.
easy for graphics to be stitched on. Make sure your graphics are We’d rather hash out
easy to take on and off of your show. Another lesson learned the internal and client design
hard way: save graphics-free masters of your podcasts so you can arguments over the
easily add new graphics. graphics that don’t take
a long time to make and
then move on to the more
Clean Appearance complex graphics. It’s
called winning an easy
Although clean is a subjective judgment, it is still essential.
battle before you take on a
By clean, we mean crisp, easy-to-read, and easy-to-understand
big war. Don’t start with the
designs. You want clarity with your podcast graphics; if things hardest part of the project
feel too busy, they probably are too busy. If you think your first, start with one of the
design is a little hard to read, your audience will think it’s very easiest parts and work out
hard to read. your battles over design.
We are not advocating for vanilla design; just remember
that podcasting is a low-resolution medium that is also heav-
ily compressed. You have less latitude than you do with print
(and even video), so it is essential you design with the medium
in mind.

This show’s graphics were created on a tight budget and little time. Simplicity was the goal all around, and it resulted
in a clean and popular appearance. This show was time limited, but it spiked as high as number two in the Technology
category on iTunes.
122   Chapter 6  Telling Your Story with Visuals

There Should Be Bugs Match Style of Video

in Your Video We see many videos that have a patchwork-quilt appear-
If you watch
ance. This is because many producers rely on stock graphics
broadcast or cable and then pick and choose from several different volumes or
television, you’ll see collections. Think of your video as being a unique individual;
that they frequently place a you want it to stand out from the crowd, but not because it is
logo in the corner of video wearing two different colored socks, a fur hat, a leather cow-
to establish network identity. boy jacket, and a Scottish kilt. Make sure your elements match
For a web video we or complement each other so the show remains consistent in
recommend that you insert its style.
one into your show every The goal is simple: You want the personality of your graph-
90 seconds or so. ics package to match the style of your show and its host. Make
Logo bugs don’t need
sure that you’re figuring out a way to make your show different
to be giant or obnoxious
(subtle is fine). We often
than the rest. Analyze your perceived competition and develop­
create them at partial graphics with a unique appearance that matches your show.
transparency to let the We often see graphics that are “hot and sizzling” and the ­talent
video show through. is barely a “warm fish.” There is nothing wrong with having low-
Graphics should go in key or subdued talent, just make sure the graphics match the
either the lower-left or show’s personality. If your show is warm and nurturing, then look
lower-right corner. to networks like the Oxygen or Food Network for graphic ideas
and not MTV2.

For the Final Cut Help podcast series, the graphic identity was carried through the show’s open and sequence
graphics onto the set. In fact, the branding and design carried through to the commercial DVDs that are sold by the
show’s sponsor VASST.

Integrating into Set Design

You should also have a color palette that carries through from
graphics to the set. You can take the key colors of your graphics
package and repeat them on the video shoot. This looks good and
adds a level of professionalism to the show’s appearance. By tying
the look of the visuals together, you can create a cohesive visual
experience for the audience. Here are a few practical tips:
• Background colors. We often use various colored backdrops
in our productions. Affordable backdrops made from muslin
or other materials can be bought from photography and video
 Chapter 6  Telling Your Story with Visuals    123

vendors. If using a practical set, try to place props with the

show’s colors in the background.
• Project logos and artwork. We’ll often use show logos or
design elements and project them on the walls of our set. If
you’re on a budget, you can use a simple slide or transparency

The daisy shape from the

MommyCast logo is projected
onto a curtain. Other colors
from the show’s palette make
up the rest of the set.

Style in Action
At RHED Pixel, we’ve produced two regular shows on Adobe Photoshop. The first show, Understanding Adobe
Photoshop, targets a mass appeal audience that is less experienced with the software. The second, Photoshop for
Video, looks at the software for experienced video professionals and motion graphic artists. Same subject, same
host—different audiences, different graphics.

As such, we rebranded our shows to make them feel different. The Understanding Adobe Photoshop show is
packaged to feel consumer friendly. Because we were attracting a more basic audience, we wanted the opening to feel
more like a McDonald’s commercial.
For the other show, Photoshop for Video, we used a much more aggressive and gritty approach. There are several
elements that are very technical, including old registration patterns and testing bars. The graphics would be fairly
meaningless except to those in the know. This podcast goes after a niche audience, and the graphics reflect that.
124   Chapter 6  Telling Your Story with Visuals

projector. You can also create a custom gobo, which is a cut-

out of the logo. These can be made of steel for monochromatic
options or glass for full-color choices. A gobo will typically
cost you between $150 and $500 depending on complexity
and number of colors. You’ll also need a light to hold the gobo;
a standard Fresnel light can work or you can purchase special
fixtures for around $200.
• Prop pieces. If you’d like to integrate your show logo, you
can order small quantities of printed items. For example, you
could use coffee mugs with a custom logo for a talk show or a
custom printed mouse pad for a technical program.
• Microphone flags. A common branding in traditional broad-
casting is the microphone flag. You can order preprinted flags
or use a blank one that you adhere your logo to. Two sources
for mic flags that we’ve used are www.mikeflags.com and www
.markertek.com.

Creating Show Graphics

Several tools for creating graphics are available. Which tools
you use will be a matter of availability and skill level. When it
comes to motion graphics, you should see the software as being
part of a bigger toolkit. As such, it is common to use several tools
on a project. The three most common graphic tools are these:
• Adobe Photoshop. The one graphics tool that is almost uni-
versal is Adobe Photoshop. If you understand Photoshop, most
other graphics tools will make sense. Photoshop integrates
well with nearly every motion graphics and video-editing tool
on the market. Before you invest time learning another tool,
start with Photoshop. It’s important to focus on graphics that
look good when they’re not moving; then these can be ani-
mated. You will learn to use technology for compositing and
design. Plus, compared to other graphics software, Photoshop
is easier to learn. This is due in large part to the vast number
of books, websites, and even podcasts about the program. If
Photoshop is outside of your reach, then pick up the very
capable Photoshop Elements, which offers a pared-down fea-
ture set that is still quite capable.
• Adobe After Effects. After Effects is often called “Photoshop
with a timeline.” It has close integration with Photoshop, in
that it can easily import layered Photoshop files, which can
be animated. Adobe After Effects is a wonderful yet complex
tool that will take an investment of time to learn. However,
the  investment pays off in that After Effects knowledge is a
very marketable skill.
 Chapter 6  Telling Your Story with Visuals    125

• Apple Motion. If your workflow is primarily Apple based,

then you should strongly consider integrating Apple Motion
into your toolset. Although Motion can work with keyframes
much like After Effects does, it has additional, unique ­features
like behavior-based animation and the ability to turn a proj-
ect into a template, which is accessible through Final Cut Pro.
If you already have Adobe-created artwork, it is easy to import.
With Motion, you can bring in elements that you’ve created in
Photoshop and After Effects as well as use Motion’s toolset.
The graphics can then be easily accessed in the Viewer win-
dow as a template project. This is particularly useful if your
video editor needs to update graphics but lacks extensive
graphics capabilities.
126   Chapter 6  Telling Your Story with Visuals

PROfile: The Rest of Everest

The Rest of Everest is a web video series conceived and created
by documentary filmmaker Jon Miller of TreeLine Productions
(www.treelineproductions.com). It is “the rest” of the footage
from the groundbreaking expedition documentary “Everest: The
Other Side” which engrossed thousands of viewers when it
premiered on Dish Network Pay-Per-View in May of 2005.

Miller returned from Everest with over 80 hours of tape

from the 60-day expedition. The final cut of the film totaled
The film documents the 2003 expedition to the Northeast Ridge just 84 minutes. That meant that only one minute of every hour
route in Tibet, and coincides with the 50th-anniversary climbing filmed made it into the finished version. Miller was looking for
season. The story revolves around 23-year old climber Ben Clark a way to get his footage out there.
and the fulfillment of his dream to become one of the youngest “In Fall of 2005 I watched my first video podcast,
climbers to ever summit Everest. Although the film has been very Four Eyed Monster. It was a show about the trials and
well received, there was just so much of the story left to be told. tribulations about promoting an independently produced
“I had recently finished the edit on my own film about climbing film,” sad Miller. “The podcast really flipped a switch in my
Everest and thought it was such a shame that I had all of this head. I thought the podcast was as engrossing as the film it
material on tape that would never see the light of day,” said was based on could ever be. I realized that podcasting was
Miller. “Surely there was a group of people who were interested an entire ecosystem. A podcast could exist on its own for
in seeing hours and hours of Everest that no one ever shows?” its own sake.”
 Chapter 6  Telling Your Story with Visuals    127

The show features nearly all of the footage from the Miller’s passion for his show and its audience has been
trip. Additionally, the climber, Ben, and others offer audio a key to its success. Besides staying in the top-rated list for
commentary to the footage. This lets the viewer get all of the his podcast, he’s received several honors for his show. The
stories right from the people who experienced it first-hand. Rest of Everest was a finalist for the Best Video Podcast at
This new approach really connected with the audience. the 2007 People’s Choice Podcast Awards. The show was also
“Podcasting has doubled my workload…and in a mostly designated by the iTunes directory as one of their exclusive
unpaid way. But I love it and wouldn't change a thing,” said Miller. “Best of 2006” podcasts.
“The show had introduced me to so many amazing people who “I was absolutely stats-obsessed when I began the
simply found the show in iTunes or through Google. Every morning show. I stayed that way for most of the first year. At some
I get up and check my email first thing to see who has written me point that all changed and I began to slow down on my
while I was asleep. Podcasting is international in nature too; I obsessive-compulsive behavior. I knew I was producing a
regularly get emails from Australia and Japan, Europe, and all over quality show and people, viewers, had noticed it as well,”
the USA. I make it a point to write back to every single person.” said Miller. “I began to build relationships with several of the
bigger fans. People started emailing me to say how the show
had inspired them to travel or to climb the mountain outside
of their town.”
“It was these emails and friendships that I developed
that made me realize that I was going to produce the show
even if my viewership dropped down to just these people.
It was for them. After I made that perspective change, the
show has been a much more enjoyable endeavor. I still check
stats, but I’m surprised to find that it can be up to a month
between log-ins.”
Miller encouraged other media professionals to give
podcasting a try. He emphasized how enjoyable the entire
process is.
128   Chapter 6  Telling Your Story with Visuals

“I’ve been a professional content producer for over 10

years now and I can say that podcasting is the most gratifying
endeavor I’ve ever undertaken,” said Miller. “There’s just
something magical about being able to shoot, edit, and publish
all by yourself and in such an immediate, international way.
It’s changed my life for the better. I’m happy to be a part of the
podcasting community.”

Gear List
• Sony HVR-A1U & HVR-V1U cameras (“I’m a real fan of tape
since my productions take me to remote areas.”)
• Libec TH-M20
• AKG C414 microphone
• Mackie 1402-VLZ PRO mixer
• Ultrasone 550 headphones
Editing Considerations
7
The advent of nonlinear editing software has dramatically
changed the way video is made. In fact, the emergence of lower-
cost (yet powerful) editing tools is directly responsible for the rise
of web video. Without a means to create video for the masses,
there would be no podcasting or YouTube.
But finding the right nonlinear editing tool is a tricky game.
You will encounter several choices on the market as well as hotly
contested platform and manufacturer wars. In this chapter, we
share with you tools that meet the needs for various types of web
video producers, as well as identify specific tasks you need to
accomplish during the editing stage. What’s the Big Deal?
The emergence of
nonlinear editing
The Evolution of Nonlinear Editing allows for
nondestructive editing.
Nonlinear editing tools have been around for many years. The This means the original
technology is defined by its ability to access any frame of video source tapes or files are
loaded onto the computer system, without needing to shuttle not modified during
through tape. In using a nonlinear editor, it is possible to assem- editing. Rather, the editing
software records the
ble video in a word-processing-like approach. This means that
decisions made by the
video can be built in segments, which can be easily reordered or editor in an edit decision
modified at any point in time. list (or EDL). These files
This is different than the traditional tape-based methods can often be interchanged
that involved meticulously assembling one shot after another between editing tools
by dubbing from one tape to another (with little to no ability for (even from different
changes). It is now possible to both build a library of video assets manufacturers). Newer
and to experiment much more freely. systems are using
When you work with a nonlinear editing system, you must XML-based project files,
transfer material (such as video from the camera) to a com- which can transfer much
puter hard drive. Some formats of videotape must be digitized, more data between
software tools.
which is why some modern cameras offer tapeless acquisition of

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
129
130   Chapter 7  Editing Considerations

Many nonlinear editing tools offer powerful color correction tools for calibrating and improving images. Software
scopes like these used to be a hardware-only option and would add thousands of dollars in cost to an editing system.

material that can just be copied. Once the material is imported,

it can be edited and arranged using a variety of software tools
made by several companies. Many of these software tools have
a rich ­history and have seen a long period of evolution (see the
sidebar).
The emergence of DV technology and FireWire signaled a
huge shift in the editing marketplace, leading to the release of
high-quality tools targeted at significantly broader audiences.
Tools like iMovie and Windows Movie Maker brought desktop
editing to the homes and schools, while companies like Sony,
Avid, Adobe, and Apple released multiple products for differ-
ent segments of the professional and prosumer markets. Thanks
to DV, video could really be edited on fairly standard comput-
ers. This revolution in FireWire filmmaking democratized the
market. Without this revolution, there would be no web video
movement.
 Chapter 7  Editing Considerations    131

A Short History of Nonlinear Editing

The first nonlinear editing system was the CMX 600, which was introduced in 1971 by CMX Systems. This system had a
console with two black-and-white monitors as well as a light pen to control the system. The system helped establish the
idea that the left monitor was where the editor made selections and previewed edits, whereas the right monitor showed
the assembled program. Costing near $250,000 (and that price is not adjusted for inflation), the tool was very expensive
and only six units were placed into use. But it was a start, and it led to more innovation.
Many others tried to develop nonlinear editing systems throughout the 1980s. These used computers that
coordinated multiple laser discs or several tape recorders. One of the more successful units was the EditDroid system
invented by Lucasfilm. Only 24 EditDroid systems were ever produced, and the company was eventually sold to Avid
Technology in 1993.
Avid is often seen as the leading pioneer in nonlinear editing software and hardware. The company first showed its
Avid/1 product in 1988 to a private audience at the National Association of Broadcasters Event. The product continued
to evolve with new features. Originally, Avids were intended as an “offline” tool meant to serve as a creative editing
solution; the actual edits would then be reassembled in a linear editing suite (called an online edit).
But as computers and storage technology improved, many industries started building programs on their Avids, then
releasing them directly to broadcast. In 1993, a group of industry experts lead by a Digital Video R&D team at the Disney
Channel found the key solution. Previously, computers had a limit of 50 GB of storage, but these engineers found a way
to build a system that gave the Avid Media Composer access to over 7 terabytes of digital video data. The industry was
reinvented again, with feature films now being edited nonlinearly.
These early days were interesting, with lots of innovation and technical challenges. The market saw competition
from manufacturers like NewTek’s Video Toaster and Media 100 editing systems. These both challenged Avid’s
dominance, mainly by attacking it on price. Other tools emerged such as Adobe Premiere, which offered both software
only and a variety of third-party hardware options.
One late entry into the nonlinear editing space is Apple (which many see as a market leader). A group of
engineers originally left Adobe to start a project called “Keygrip” for Macromedia. This project couldn’t really get
off the ground and was eventually purchased by Apple. It was seen as a way to compete with Adobe Premiere and
a precautionary move since Avid had begun to move away from the Mac platform and push its Windows-based
solutions. Final Cut Pro was unveiled in 1999—and originally was not taken seriously. Apple has continued to invest
heavily in the product, however, making major strides in technology and value, leading the company to a dominant
position in most market segments. A big part of Final Cut Pro’s success was the advent of DV-based video formats,
which use IEEE 1394 (or FireWire).

Nonlinear Editing Software

Lots of tools are used to edit video. Selecting the right one
involves the balancing of several factors. If you are considering
investing in a new NLE, be sure to evaluate these options. We
have listed tools by top manufacturers, sorted alphabetically by
manufacturer, then by cost. There are more tools on the market;
these are just the most popular in the web video space.
132   Chapter 7  Editing Considerations

• Adobe Systems (www.adobe.com)

Our Tools of Choice • Adobe Premiere Elements (Microsoft Windows)
We think it’s • Adobe Premiere Pro (Microsoft Windows, Mac OS X)
important to be • Apple, Inc. (www.apple.com)
transparent here. • iMovie (Mac OS X)
Both authors have • Final Cut Express (Mac OS X)
significant experience • Final Cut Pro (Mac OS X)
using nonlinear editing
• Avid Technology (www.avid.com)
software. We both began
• Avid Liquid (Microsoft Windows)
using Avid editing systems.
When we started RHED • Avid Xpress Pro (Microsoft Windows, Mac OS X)
Pixel, we chose the Mac • Avid Media Composer (Microsoft Windows, Mac OS X)
platform because of • Media 100 (www.media100.com)
personal experience and • Media 100 HDe (Mac OS X)
our ability to maintain it. • Media 100 SDe (Mac OS X)
RHED Pixel was one of the • Microsoft (www.microsoft.com)
first companies to adopt • Windows Movie Maker (Microsoft Windows)
Final Cut Pro and use it for • Sony (www.sonycreativesoftware.com)
a variety of broadcast and • Vegas Movie Studio (Microsoft Windows)
nonbroadcast projects.
• Vegas (Microsoft Windows)
We also use Adobe
Premiere Pro (mainly for its
excellent integration with NLE Selection Criteria
Adobe After Effects and
Asking video pros to tell you which editing system they’d
DSLR Video). We are
pick will often invoke passionate answers. Editors tend to have
open-minded and
constantly look at new strong feelings about how they like to get their work done. When
tools to compare their choosing for yourself, remember that there is no one-size-
features and opportunities. fits-all answer here. You’ll need to balance out your needs and
budget to choose the right tool. There are some selection cri-
teria that you should be aware of. This advice is framed solely
around use in web video, so keep this in mind when we make
recommendations.

Cost
Nonlinear editing tools run the gamut in cost. For example,
both iMovie and Windows Movie Maker are included with Apple
and Microsoft’s operating systems. So if you are looking for a tool
at no additional cost, you likely have one. Both of these tools are
effective, though many users eventually outgrow them as they
develop their video editing skills.
At the next level, you’ll find tools like Apple Final Cut Express
for Mac and Adobe Premiere Elements or Sony Vegas Movie
Studio. These tools start to increase the feature set for the edi-
tor and run between $79 and $299. These tools offer significantly
more control over editing your video and fixing problems, but
they do have a steeper learning curve.
But even the pro-level tools can be within reach of web video
producers. Many choose to invest in options like Apple Final
 Chapter 7  Editing Considerations    133

Premiere Elements is a flexible

tool that works well for Windows
Cut Studio or Adobe Creative Suite Production Premium. These users.
­bundles offer significant savings and combine multiple video
tools into one package. These package deals are useful as they
combine video editing, motion graphics, sound editing, encod-
ing, and publishing tools into one bundle.
Be sure to fully explore the tools and their costs. It’s also a good
idea to visit a certified reseller or approach peers so you can try
out the systems you are considering. You can also read video edi-
torial reviews from magazines such as Layers Magazine, Creative
COW Magazine, and DV Magazine where you can get indepen-
dent opinions on editing software.

Ease of Use
Ease of use is subjective and depends on the individual
user. We have heard from many that Apple, Adobe, and Sony lead
the way with products that are powerful and easy to use. It is
134   Chapter 7  Editing Considerations

Apple iMovie offers an easy-to-

use interface and is designed for
newcomers to nonlinear editing.
important to realize though that video editing is a complex task.
Be prepared to pick up books, training DVDs, and even enroll in a
Looking for Training? class to learn video editing skills.
The biggest mistakes we see are from the people who choose
There are lots of to go it alone and teach themselves. Sure, you probably could have
companies on the
learned to drive a car with no outside help, but it would get really
market that
produce training for video
expensive with all those crashes and fender benders. Same holds
tools. Here are the ones true with video editing—if you are going to invest in expensive
that we personally use and equipment, invest time and money in learning to get the most out
believe in: of that gear.
• Creative COW—
www.creativecow.net Editing Formats
• Future Media
Concepts— Different camera manufacturers have closer ties to certain
www.FMCtraining.com NLEs, so be sure to investigate if your type of camera or video deck
• Focal Press— will work with a particular NLE. It’s important that you fully explore
www.focalpress.com this important connection before investing money in technology.
• Peachpit Press— A good place to start is to look at the manufacturers’ web
www.peachpit.com pages and  see which equipment and video formats they list as
• Kelby Training— supported.
www.kelbytraining.com Additionally, we prefer resolution independent NLEs. Tools
• Ripple Training— such as Adobe Premiere Pro, Apple Final Cut Pro, and Sony Vegas
www.rippletraining.com
allow you to bring in a variety of materials and mix them in one
 Chapter 7  Editing Considerations    135

Slated Takes
We have
already
discussed using
a slate to sync
and mark takes when in
timeline. This is particularly useful if you need to frequently work the field. Be sure the editor
with photos or screen captures. knows to look for these
For example, our Understanding Adobe Photoshop series takes (and that whoever is
video shot on a high-definition video camera with nonsquare loading the footage
pixels and intercuts it with screen captures that are digitally doesn’t chop them off).
acquired. The screen captures are generally larger (often much This way, people not
more) as we can then pan around and show close-ups of the involved in the shooting
software interface (we simply scale down to show the whole user process can have an
easier time editing the
interface). We prefer this flexibility, as it increases our ­working
web video.
options.

Multicamera Editing Abilities

The ability to synchronize and edit multicamera video Multicamera
shoots is essential to web video. When executed properly, a Assistance
multicamera shoot saves enormous time in the postproduc- If you’re looking
tion process. Once the angles are synchronized, it is easy to to edit multiple
maintain continuity. Additionally, the material is easier to edit camera angles
as you  have multiple angles and can cut between them with a together, be
single keystroke. Multicamera options are available for most sure to check out the
pro-level tools: different tools from
• Adobe Premiere Pro Singular Software
• Apple Final Cut Pro (www.singularsoftware
.com). We find them to be
• Avid Xpress Pro and Media Composer
a huge timesaver.
• Sony Vegas
136   Chapter 7  Editing Considerations

Export Abilities
Just as important as what you can put into an NLE is what you
can get out. Most nonlinear editing tools fully support multiple
web-ready export formats. Some build support right into the
application via the Export or Share menu, while others offer more
options through standalone compression tools.
It’s important that you test the abilities of the NLE to make an
MPEG-4, H.264, or Flash video file for use in web video. Although
many editing tools do an adequate job, you may still consider some
of the dedicated compression tools that we will discuss in Chapter 8.

Are Your Hard Drives Fast Enough?

Do you plan on editing multicamera edits? What about HD footage? Then you need to get some fast hard drives. Here
are a few simple tips:
• Use the fastest scratch disk available on your system.
• Never use the system boot drive; it is too cluttered to perform.
• Look at RAID-style hard drives. These have multiple drives striped together for better performance. This is essential
for uncompressed and HD formats.
• If your system supports them, take a look at adding serial ATA drives in and stripe them together for performance.
 Chapter 7  Editing Considerations    137

Adobe Premiere Pro offers a great variety of export options including Flash, DVD,
Blu-ray, Windows Media, and MPEG-4.

Customer Support
A Camera Is Not a
As we’ve said many times, editing video is not easy. Therefore, Deck or Card Reader
you’ll want to examine how much support is available for a prod-
We see many
uct. Look at the company’s website for an active user forum.
people plug
Does the company offer certified training classes? How many their cameras in
books or DVDs are published on the tool? Can you find a local to load material into their
user’s group in your area for sharing ideas and support? Different video editing systems. This
­manufacturers have different levels of loyalty. Apple and Sony is a very bad idea, as it
tend to have the biggest “zealots” followed by broad support for significantly stresses the
Adobe tools and a large established training system for Avid. equipment. Shuttling and
rewinding tape can
quickly wear out a
Technical Considerations During Editing camera, as can plugging
and unplugging cables.
The editing stage is the place where all the pieces come You are much better off
together into the final story. In many ways, it all comes down to buying a tape deck or
how the editor puts the pieces together. It is beyond the scope of card reader to feed your
this book to teach you how to edit. Rather, we’ll identify the most material. This way you
common problem areas when it comes to editing video podcasts. can have shooting and
These are the skills you must master (or find someone who has). editing going
Knowing what problems to watch for is the hardest thing. Here’s simultaneously and your
what we’ve learned (often the hard way). camera investment should
last significantly longer.

Determining Finishing Size

There is often debate as to how to set up your sequences for
editing. Some suggest setting the sequences to match the fin-
ished web video size. Although this is a valid choice, we don’t
­recommend this method. Working with nonstandard frame sizes
138   Chapter 7  Editing Considerations

usually results in significantly more editing and rendering. After

all, it is easy enough to reformat the video when it is edited (more
on this in the next chapter).
The best advice here is to set your video editing timeline to
match your primary acquisition source of video. This means that if
you shot DV NTSC, set your timeline to 720 × 480 nonsquare pixels.
It is also a very good idea to stick with the sequence presets that ship
with your editing software. Just be sure to match the right sequence
settings to your footage. If you have to render everything in your
timeline in order to play it, the sequence ­settings are wrong.

Determining Sequence Settings

It is important to set your NLE timeline up properly; other-
wise the settings could lower the quality of your images. With a
podcast or web video, determining the right sequence setting to
use can be a bit tricky. This is because you’ll often mix elements
like video, archival material, photos, slides, and screen captures.
The guiding factor is the format of your primary source material.
You want your editing sequence to match your most dominant or
important source.
This generally means that you
want to set your sequence to match
your on-camera footage. The good
news is that most NLE software
tools make this easy. You should find
sequence presets for common cam-
eras or video formats. It is gener-
ally best to set your sequence up to
match your camera footage so you
get the most real-time performance
from the computer and can edit
without having to first render.
After the initial edit is com-
plete, you need to evaluate your
Apple’s Final Cut Pro offers image quality. If your sequence
flexible sequence settings. contains heavily compressed footage mixed with higher-quality
These allow you to create sources like screen captures or photos that use less compression,
customized sequences to you’ll want to “up-rez” your sequence. Duplicate your edited
match nonstandard footage. sequence, then modify its ­compression type (or codec) to match
your highest quality material (such as Apple ProRes, Avid 1:1, or
Cineform HD). You’ll likely need to render much of the sequence,
but this file will make a much better source for web compression.

Maintaining Optimal Color and Exposure

Many web video producers understand little about color cor-
recting their video. This is because web video doesn’t have the
same rigorous issues of quality control as broadcast video. This
 Chapter 7  Editing Considerations    139

doesn’t mean that you should

ignore the stricter rules of broad-
cast television:
• Web video codecs work best
when the source material has its
colors and exposure set properly.
• You might also need to deliver
your video for playback on a
television.
• Following the best practices of
video is literally good practice
and will make all of the videos
you do look more professional.
You want to make sure that you
have adjusted exposure properly.
Try to avoid blowing the image out. If it’s a choice between too
light or too dark, favor a little bit dark. Make sure you have suf-
Using Color to Tell
ficient contrasts because a lack of contrast will cause problems
a Story
when you compress.
Most modern video editing tools include reasonably good If you’re looking
tools for color correction. The problem is that most NLEs contain for more on
bad tools as well. In general, look for tools that offer three-way using color in
color correctors or curves-based color tools. On the other hand, your video
productions, be sure to
avoid the use of brightness or contrast filters, as they are the two
check out The Visual
worst filters for fixing video images. Color correction is a tricky
Story by Bruce Block or
task, so be sure to invest in some training to learn which tools If It’s Purple, Someone’s
work best for your NLE. Gonna Die by Patti
Bellantoni.

Color Grading for Best Look

Color grading goes beyond mere color correction. It is the Power Windows:
manipulation of color for artistic purposes. You’ll often choose to Simple Vignettes
manipulate the color in your podcast to help give it a visual identity.
The manipulation of color is a powerful way to convey mood and In the traditional
color grading
style to your audience.
process, a vignette
There are several third-party tools that are useful for manipu- (or power window) is often
lating color in your video. These plug-ins cost extra, but they offer added to the footage.
powerful options that can simulate film as well as processing tech- Vignettes offer a simple
niques used in cinema. Although you may not be able to do color way to draw a viewer’s
grade on every show, download demos and try out some of the fol- attention subtly to a
lowing tools: person’s face or some
• Magic Bullet Suite (www.redgiantsoftware.com)—Final Cut Pro, other object on screen.
Premiere Pro Most NLEs offer a vignette
• Nattress Film Effects (wwww.nattress.com)—Final Cut Pro plug-in. You can also find
• Celluloid Film Looks (www.vasst.com)—Sony Vegas a free vignette overlay file
on the chapter’s page at
• Tiffen Dfx Software (www.tiffen.com)—Final Cut Pro, Premiere
www.VidPodcaster.com.
Pro, Avid
140   Chapter 7  Editing Considerations

Keep Getting Flash Check for Flash Frames

Frames? Before we export a show and publish it online, we give it a
Do you keep
thorough scouring. One of the things to check includes looking
ending up with for flash frames. A flash frame is usually a one- or two-frame edit
flash frames in that is unintentional. It may be a few frames from a scene change
your edits? The likely or a small gap where no video is present.
culprit is you! It is a bad It sounds meticulous, but step through your show and review
idea to drag video to or each edit point. You can often find a keyboard command to cycle
around your timeline. It is around your edit points, playing a few seconds before and after.
an inaccurate way to edit Trust us, avoid flash frames—they are amateurish.
and often results in “little”
errors as a result of sloppy
dragging. Instead you
should use the precise Consider Transitions Carefully
trimming controls as well You will want to carefully consider the use of wipes and tran-
as set In and Out points sitions in your podcasts. Oftentimes transitions will “break up”
for your initial edits. because of the limitations of web video. A transition (especially
a dissolve) is much too complex to compress effectively. This is
because so many of the pixels are changing at the same time and
usually quite rapidly.
Most web compression relies
on MPEG-4 or Flash ­technology,
which is based on saving space by
only updating pixels that change.
When you use a wipe, it causes a
spike in the data needed to show
the image clearly. Because web
videos generally have caps on
their data rates, this results in
the picture breaking up. Many
­producers eliminate wipes alto-
gether and instead rely on the
most basic dissolves and  fade-to-
color transitions (or even the most
basic ­transition of all—the cut).
Avid editing systems offer
several transition styles to
choose from.
Dealing with Interlaced Material
There’s a good chance that the video in your timeline is inter-
laced (even if it is shot at 24P). Most video formats involve some
interlacing. This is a “leftover” technology from the earliest days
of television. Video interlacing causes half of one frame to load,
followed by the second half. This material is often identified as
the upper or lower field (or even and odd). Essentially, every other
frame of video is refreshed each 1/60th of a second for NTSC
video and 1/50th of a second for PAL.
 Chapter 7  Editing Considerations    141

Although this is useful for video that is intended for television

sets (it can produce smoother motion), it looks terrible on pro- Dual Chain Errors
gressive type displays. An interlaced video file is jagged on a por- If you are using
table media player or computer display. Therefore, you need to both FireWire
determine when to remove interlacing: hard drives and
• Shoot progressive. If you know that you’re only deliver- a camera or
ing to the web, try to get rid of fields and shoot your video deck, you can have major
technical problems. For
progressive.
most machines, the built-in
• De-interlace the timeline. If your NLE allows, set your video
FireWire ports all share the
editing timeline to progressive. You’ll generally need to same system bus. This leads
remove fields using a plug-in or effect. Most NLEs include to major problems when
a de-­interlacer or flicker filter. A better option, though, is to you try to load video into
purchase a re-interlacer and advanced de-interlacer plug-ins. the system and write it out
Filters can take a while to render, so weigh carefully adding to drives at the same time.
the filters to your edit. We generally recommend filtering dur- The solution is to either
ing the edit if you want greater control or plan to export sev- capture to a second, high-
eral versions of the file. speed internal drive or to
• During compression. Many compression tools offer the hook up an additional
FireWire card. This can
­ability to de-interlace via a filter as part of the encode pro-
often be added to an
cess. This option is valid but only works well if all the material
empty card slot in a tower
in the timeline is from consistent sources. If you have mixed or slipped into a cardbus
many sources in the timeline (such as footage from different slot on a laptop. These
cameras), it is often better to de-interlace your footage within options will run you
the timeline itself via a filter. between $50 and $100
and will significantly cut
down on technical issues
Shot Selection like dropped frames and
If you have a lot of experience editing video for other, more aborted capture errors.
traditional, media, you’ll need to retrain yourself a bit. Web video
involves putting video out to devices that are not usually television

The frame on the left shows how interlacing can affect image quality when viewed on a noninterlaced display (such
as a computer or portable media player). The frame on the right was shot progressive with a Panasonic DVX-100B.
142   Chapter 7  Editing Considerations

sets. This means you need to choose your shots with the playback
Fixing Interlacing medium in mind.
During an Edit
Your shot composition will tend to be tighter than you’re
Need to probably used to. Instead of wide shots, you’re more likely to use
de-interlace your medium or medium close-up shots. This is because of the lower
web video? resolution and smaller size that most web video is published.
Here are a few The  best thing for an experienced video creator to do is export
plug-ins worth checking out:
and test the video early on. Get used to seeing your video on
• Big Box of Tricks for Final
smaller screens and computer displays. Let this guide you as you
Cut Pro (www.nattress
.com) select shots to use.
• FieldsKit for After Effects,
Premiere Pro, and Final
Cut Pro (www.revisionfx
Audio Mix
.com) Your web video may end up with several tracks of audio. Many
• Instant HD for After editors will try to “troubleshoot” their audio mix. The editor
Effects, Premiere intently listens to the show, as if intensity alone could move the
Pro and Final Cut Pro edit from a “fine” cut to a “final” cut. Intense focus is a good thing,
(www.magicbullet.com). but make things a little easier by narrowing your focus.

Spelling Errors
We’ll let you in on
a cold, hard fact.
If there are spelling
errors in a show, it’s always
the editor’s fault. It doesn’t
matter where the errors
come from, whether it is the
client or producer; it’s still
the editor’s fault. Through
the years we have built up
a constant paranoia. There
will be spelling mistakes,
therefore scrub your
graphics carefully and look
for errors. Every time we
forget our own advice, the We generally find that the only way to spot problems is to nar-
phone rings or the email row our focus. Problems will stand out in your audio track when
chimes; it’s a client or you listen to the elements separately. Use these tips:
viewer letting us know • Turn off your audio monitors to listen to tracks (or pairs) individ-
there’s an error. Be ually. This way you can isolate problems with the audio tracks.
paranoid, expect problems, • If you’ve added audio edits to your music, do things transition
and then be thorough in smoothly, or are you trying to hide your music edits? Learn to
your final quality check. use your NLE’s trimming tools to finesse audio edits.
• Are there any loud breaths, gasps, or “guttural” sounds in your
narration or sound bites? Throat clearings and coughs can be
cleaned up easily.
• Because many viewers of your podcast or web video will listen
with headphones, you should too. This way you get an idea of
what the viewer will experience.
 Chapter 7  Editing Considerations    143

Audio Normalization Little Upcuts

Pay attention to your audio levels. With the rise of portable
No matter how
media players and smart phones, many web video consumers good of an audio
have headphones jacked into their ears. If your audio mix keeps editor you are, the
varying, with very loud areas being followed by areas that are very more edits in your vocal
quiet, you will annoy your audience. tracks, the more likely you
Audio is a much bigger issue when you’ve got the sound are to have small pops in
pumped directly into your ears. So a sudden blast because the tal- your sound track. We usually
ent got really loud will cause someone to take the ear buds out and add several four- or six-frame
turn your show off. Fortunately, many NLEs or bundled audio edi- audio dissolves to all audio
tors offer normalization gain. This process attempts to automati- edits on a narration track.
cally smooth out your audio levels. It won’t totally ­“flatten” the These short dissolves go a
long way to smooth things
mix, but it will move it all closer to the middle. Your highest highs
out in your vocal track.
will drop to a specified target (in dBs) and your lows will be raised After adding the
closer to the center. This is an important step and worth doing. dissolves, be sure to listen
to your mix. You want to
make sure that when you
Run Time Strategies add that dissolve, you’re
We’ve rarely watched a web video that couldn’t benefit from being not picking up extra audio
shorter. Never forget your target run time. For most web video and (random words and double
podcasts, you are editing short-form entertainment or training. It is breaths) from the media in
far better to keep it short and to the point. In our opinion, this is an the clip’s handles.
easy way to meet the audience’s needs and lower production costs.

Using Dynamic Noise

Reduction?
Many NLE’s offer
the ability to use a
dynamic noise
reduction filter. This
technology works by
sampling the ambient noise
in a shot when people
aren’t talking. This can then
be used to filter out the
noise from the scene.
Although this works great,
here’s an important piece
of advice. Fix any sound
problems like this first,
before you start to edit. It is
much easier to filter and fix
You are financially better off if you can generate more ­episodes the entire interview or
with less work. You’ll do much better by thinking shorter and on-camera take than it is to
getting more individual episodes (making it easier for people to go back and do it 15 times
search for your content). This is actually what most audiences because you made several
­prefer—shorter videos, because they are consuming it as on- edits. This will save you
significant time and effort.
demand content.
144   Chapter 7  Editing Considerations

Keep an Eye on the Finish Line

Here’s a suggested workflow to improve the quality of your podcasts. These steps should be completed in order and are
based on a professional video workflow. The checklist can, of course, be amended with project-specific tasks, but here is
a general list that you can adapt for your needs. Thanks to Robbie Carman for the suggestion.
1. Watch the show.
2. Note problems with video and audio using markers.
3. Color-correct the show.
4. Mix the show’s audio track.
5. Check graphics for consistency (i.e., fonts, colors, position, and spelling).
6. Watch and get approval for the show.
7. Output the show and create compressed files.
8. Archive and back up the show.

Be sure you monitor your editing and agree-upon target

length. For example, you may determine that you want all epi-
sodes to run between four to six minutes, but the show inched
closer to seven or eight minutes. In this case, you should split it
in half for two parts. If the show clocked in at twelve minutes,
you could deliver two six-minute episodes or three four-minute
shows. The important logic here is that you pick a target run time
then manage your editing so the segments time out.
One trick is to add a marker in your timeline to make it easier to
see your target run time. Remember, most shows benefit from editing
out the “bad” parts. A shorter show helps you distill your content to
only the best content. Trim the fat and get to the good stuff quicker.

Backup Progress
Save your work. There, we’ve said it. Having an organized
approach to backing up your work is essential. We generally take
a multifaceted approach to our backups. Here are a few strong
suggestions for implementation in your projects:
• Drive mirroring. If the content we are using is irreplaceable
(for example, screen captures or tapeless acquisition with no
tape backup), then we mirror our drive. This involves getting
an identical sized or larger drive and copying all of the content
from the edit drive. We can recount a few times too many where
this basic backup has saved the day. Once the project is done
and archived, you can erase and reuse your mirrored drive.
• Auto-save/Vault/Attic. Most NLEs offer some level of control of
the program’s ability to autosave. This means that you can target
a set number of automated project backups to be recorded on a
different directory from the system drive or media drive. We often
specify a removable drive like a USB “thumb” drive for backup.
 Chapter 7  Editing Considerations    145

• Nightly backup. We recom-

mend giving every editor or
graphics person involved in the
project his or her own portable
hard drive. Additionally, give
the mandate that project files
should be backed up every night
before leaving work. This is a
very good idea and puts owner-
ship into the team’s hands.
• Use protected drives. There
are many affordable drive solu-
tions on the market that auto-
matically protect against data
loss. We use drives from Drobo
in our facility; they have a failsafe mechanism to account for
drive failure (remember, all drives eventually fail).
• Self-contained movies. When you export your movie files for
compression, we recommend “self-contained” QuickTime or AVI
files. Many users choose “reference” movies, which are depen-
dant on project media and render files. A self-­contained file can
be easily used in the future if DVD compilation or recompres-
sion needs arise. Hard drives have gotten much cheaper, and the
extra effort is great insurance for the future.
• Common Media Folder. We’re often asked about our backup
strategies. What do we save, where do we store things on our
drives? Here’s one methodology that works for us. We create a
Common Media Folder for each project. Inside we put fold-
ers for all sorts of common media types, such as a sequences
folder, a capture folder to hold loaded video, a graphics folder,
and an audio folder.
Within these folders
things are further bro-
ken down into source
projects, renders, and
so on. You will want to
create a folder struc-
ture that works for
you. By using the same
structure for each proj-
ect, it becomes easy to
find project assets, as
well as make changes.
Plus, this folder can
be easily backed up
to a mirrored drive or
archived at the end of
a project.
146   Chapter 7  Editing Considerations

PROfile: LetsKnit2gether
LetsKnit2gether is a five to ten minute video podcast about
knitting produced by CAT and Eric Susch. The episodes cover
topics like knitting socks, blocking, felting, cables, knitting with
ribbon, and lace knitting. LetsKnit2gether (www.LetsKnit2gether
.com) focuses on intermediate to advanced techniques and
take special care to show the actual knitting up close with
simple and clear instructions. Let’s Knit2gether is frequently
featured in the iTunes Store Top 10 in the Hobbies category.

While many people focus on cameras, Eric Susch

recommended keeping an eye on lighting and sound.
“Good audio is the single most important thing. If your
viewers can’t understand what people are saying, they
won’t care how pretty your pictures are. Good audio is also an
unconscious sign of a professional production,” said Eric Susch.
“Lighting is the second most important thing. We take a lot of
care with the lighting for our demonstration shows. We shoot in
our home and have several standard locations in different rooms
so there is a bit of variety in the shows. I have very detailed
lighting diagrams so that we can set up and break down quickly.
We also shoot multiple shows at once so we can save time.”

The show also takes “field trips” to knitting events like the
Sheep and Wool festivals in New York and Maryland. There
they try to capture the spirit of knitting culture. A recent field
trip took the show to Shea stadium to watch a Mets baseball
game with eight hundred knitters.
CAT Susch, who has been knitting for more than 20 years
and develops all the demonstrations, hosts the show. Husband
Eric handles all of the production and editing. Eric leveraged
his experience producing shows for the Discovery Channel to
create his web video series. The show is shot entirely in HD,
with an emphasis on high production values and enjoyable
content.
“We shoot everything in HD and finish to broadcast
specifications. We use two different cameras for the two
types of shows we do. For the demo shows we shoot with
a JVC GY-HD110U,” said Eric Susch. “For our ‘field trips’ we
shoot with a Sony HC1 because it’s small and non-threatening.”
 Chapter 7  Editing Considerations    147

A focus on saving time and money is just one the lessons medium can do. CAT had all the knitting expertise (so the
learned. ‘content’ was free) and I had a lot of the equipment and
“Shorter is usually better (when in doubt, cut it out!). production expertise. We could start a show and give this new
Podcasting is not time-based like TV, where every show has medium the ultimate real world test. Our first year was
to be an exact length to fit in a time slot. Don't fall into bad extremely successful and our test has become something we
TV habits by adding fluff to fill time because you lack content. want to continue and try to make money with.”
Let your content decide how long your show will be. This is Eric is now focusing his professional career on
one of the advantages of podcasting over TV and your viewers LetsKnit2gether and developing podcasting and new media
will appreciate the fact that you are treating their time as programs for others. He is learning a lot as he goes, but
valuable.” offered practical advice for those starting out.
Eric Susch has embraced podcasting. He sees it as a valid “Keep it simple… video podcasting can be whatever
alternative to traditional media outlets. you want and that leads to many exciting possibilities. It's
“A few years ago it was becoming clear that broadcast impossible to travel down all those roads at the same time
television was changing, and not for the better. Production and you can quickly become overwhelmed. Figure out what
budgets were getting smaller and smaller. The business is now you want your show to be and stick with it,” said Eric Susch.
about volume with every show getting more and more tabloid “Your success is not dependent on one or two episodes,
to get attention,” said Eric Susch. “I started looking for a new it's based on the show as a whole. That leaves room for a
outlet. When podcasting began I said to myself, ‘How can we misstep here and there. It’s not a big disaster if you have
get into this and try it without spending any money on it?’ Let's a terrible show. Make any adjustments necessary and
Knit2gether started basically as a test to see what this new continue on.”

Gear List
• JVC GY-HD110U camera
• Sony HC1 camera
• Sachtler System tripod
• Sony 17” HD LCD Monitor
• Arri Softbank 1 kit that has two 650 fresnels, one
300 fresnel, and a 1K open face with a chimera and an
egg crate
• A 30” silver/white FlexFill
• Pro Prompter
• Schoeps CMC 5 microphone
• Electrovoice 635AB Wireless Microphone
• BeachTek DXA-2S XLR audio adapter
This page intentionally left blank
Encoding Video for The Web
8
While you work hard to have a great-looking video, ­delivering
uncompressed video over the Internet is just impractical.
Uncompressed video formats can top out at 1 GB per minute,
and even DV compression still weighs in at 200 MB per minute.
This would cost a fortune to deliver and even the most ­motivated
audience members wouldn’t be willing to invest the time in
­getting content.
Fortunately, video compression techniques and technology
have dramatically improved. It is now possible to deliver video
that looks great using data rates that measure 1 to 10 MB per
minute. In fact, adaptive streaming technology has allowed video
viewing on smart phones to grow enormously.
However, getting video to still look great despite the task of
discarding 95% or more of the information takes skill, time, and
technology. We can give you two of the three, you’ll have to either
learn patience or just keep buying a faster computer.

Image quality is essential as consumers start to watch web video on larger

screens.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
149
150   Chapter 8  Encoding Video for The Web

Server Side Encoding

For many web video and social media sharing sites, your video is going to be recompressed (no matter what you do).
This is generally referred to as server side encoding, and it can really wreak havoc with the quality of your video. This
is done in order to unify all of the video on a site and ensure that it plays back smoothly. Here are some things to
keep in mind.
• Be sure to look at upload limits. You’ll often have a cap on runtime and file size. Be sure your video falls beneath
both or it will likely be rejected. For example, Facebook requires files to be less than 20 minutes and 100 MB,
whereas YouTube allows 10-minute clips that must fall below 1 GB.
• Check your options. Most sites will accept several different upload formats. You are best compressing the video
to an intermediate file that meets the upload requirements. Most sites accept H.264 video files, which offer a good
balance of image quality to file size.
• Test post. Before you upload several clips, be sure to test post. Try out a compressed file and see how it looks. Find
the right balance of image quality to file size in order to maximize the video’s appearance online.

The Challenge of Encoding

The task of encoding video faces a triple constraint. To come
up with the right encoding technique, you must balance file size,
ease of development, and final quality. This is not unlike the old
adage of good, fast, cheap—pick two. Unfortunately, you (and the
world) want all three:
• Getting a small file size with good image quality is not easy
to do.
• Likewise, you can usually generate high-quality podcast files
quickly using default presets with the encoding tools, but the
files will be unnecessarily large.
• Of course, you can make small files quickly by just throwing
away information. But these fast encode methods don’t deliver
great-looking files.
Before you give up and think that this quest is hopeless, don’t
worry, we’ll get you there. With a little knowledge, common sense,
and patience, your files will look great and be ready to publish to
the Internet.

Determining Delivery Format

You will face some important decisions early on when you
want to determine your delivery format. For example, making
video files that will work in an RSS feed is a lot easier than those
that work on an iPod. Picking the right format is a give and take
scenario, so let's explore some of the options.
 Chapter 8  Encoding Video for The Web    151

Most compression applications

offer a choice of several
formats. Adobe Media Encoder
is included with Premiere Pro
and the Adobe Creative Suite.

File Format
There are a myriad of formats available on the web. The driving
factors here are the audience. If you’re targeting a corporate envi-
ronment, then creating files that work with the bundled Windows
Media Player application is essential. On the other hand, you may
be targeting mobile phone users, in which case MPEG-4 is the
clear leader. Don’t make the mistake of lumping online video for-
mats together; they often have very unique properties.

MPEG-4
The MPEG-4 format is really a suite of standards with many
parts. Each part offers a set of standards for aspects such as audio,
video, and file formats. The standard was first introduced in 1998,
but it continues to evolve with important new changes. MPEG is
an acronym for the ISO/IEC Moving Picture Experts Group, which
serves as the governing body for the format.
The two most common parts of MPEG-4 are part 2, which is
used in codecs such as DivX and QuickTime 6, and H.264, which
is part of QuickTime 7 and QuickTime X as well as Blu-ray Discs.
We’ll explore the newer H.264 in a moment, but let’s first look at
the common .mp4 file that is often used for the web.
Many compression tools offer the more plainly labeled
MPEG-4 option. This generally means that the older MPEG-4 part
2 Simple Profile specs are being followed. This ensures greater
152   Chapter 8  Encoding Video for The Web

H.264 Is Future-Proof
With H.264, we
seem to have a
video format that
most portable device and
entertainment system
manufacturers can agree
on. The H.264 format
gives excellent quality
across multiple
bandwidths—from 3G for
mobile phones to HD
television broadcasts. This
is great news as it means Many encoding tools, including Telestream’s Episode Pro, offer presets for
there is a lot of support different encoding jobs. Note that certain players can handle both types of
and effort being placed MPEG-4 video, while many newer devices prefer H.264 video.
into tools and technology.
With H.264 being
mandatory for the Blu-
ray specification and the
compatibility with QuickTime 6. The format is also more likely
3GPP (3rd Generation to play using other web-based players such as RealPlayer and the
Partnership Project) open-source VLC media player. Some podcasters favor this for-
standards, H.264 is mat if they are targeting a user-base of running older computer
going to be around for a operating systems. Although the format does offer broader sup-
long time. Additionally, port, it does not offer the same level of quality of the newer H.264
major manufacturers like format.
Apple, Sony, Nokia,
SanDisk, Palm, Blackberry,
and even Microsoft are
onboard. If your content
H.264
has an eye to the future, The H.264 format is an extension of the MPEG family and is
stick with H.264. also called MPEG-4 Part 10, or Advanced Video Coding (AVC).
This format is broadly used outside of podcasting and web video
including uses for broadcast television and Blu-ray Discs. The
format was first drafted in 2003 and saw widespread adoption
by 2005. H.264 video wrapped in an MPEG-4 container is Apple’s
preferred format, as it is used for both movie trailers on Apple’s
website and TV shows and movies available for sale in the iTunes
Store.
Support for H.264 extends beyond Apple. In 2005, Sony
added complete support to the PlayStation Portable line. In
2006, Microsoft launched the Zune portable media player, which
included both MPEG-4 and H.264 support. In 2007, YouTube
began encoding all uploaded videos to both its standard player
and H.264. This move was to broaden the reach of YouTube videos
to the iPhone, iPod touch, and iPad models. Additionally, Adobe
Media Player released in 2008 also supports H.264 in ­addition to
Flash video.
 Chapter 8  Encoding Video for The Web    153

The format was brought to life as a way to provide “DVD-

quality” at half the data rate (i.e., file size) of the optical discs. AVC: H.264 by
Another Name
Besides smaller file size, the format specs mandated that
the format had to be relatively easy to use, not cost prohibi- Don’t be surprised
tive, and work on devices from many manufacturers. The for- to see yet another
mat has ­succeeded, and is the ideal choice for most video name for H.264
podcasters. codecs, which is AVC
(Advanced Video Coding).
This is meant to be a more
HTML5 “consumer-friendly” name.
While it’s not exclusively a video format, the use of HTML5 You’ll see this term pop-up
is quickly gaining ground. One of the driving factors has been a frequently in different
platform war that has engulfed Apple and Adobe over the wide- manufacturer’s products.
spread use of Flash. With the launch of the Apple iPad in 2010,
Apple made several public statements about why they chose to
not support the Flash plug-in on the device.
When used correctly, HTML5 allows for embeddable players
that can be deployed across multiple browsers and platforms. HTML5 Top Sites
A number of high-profile websites including YouTube, Vimeo, and HTML5 is a
DailyMotion have begun offering HTML5 video. quickly evolving
There are a few limitations with HTML5 video currently. format; to keep up
A  major drawback is that HTML5 lacks a true video standard we recommend these links:
and instead supports multiple video formats. It also currently • www.webmproject.org
lacks the ability to play video in a full-screen window (unless • www.apple.com/html5
the web browser can be enlarged full-screen). Many content • www.html5video.org
creators are also wary because of deficits toward content pro- • dev.w3.org/html5/spec
• www.templates.com/
tection issues.
blog/10-html5-video-
players

Try Out HTML5

Want to give
HTML5 a try?
YouTube users can
visit www.youtube.com/
html5 and click the Join
the HTML5 Beta link.
YouTube is using a mixture
of videos in the newer
WebM format as well as
the H.264 format.
The HTML5 player from YouTube is broadly compatible with many web browsers.
154   Chapter 8  Encoding Video for The Web

QuickTime
QuickTime is a broad category of technologies created by
Apple. Its presence is woven throughout Apple’s software and
operating system. It’s also available as a stand-alone media player
and plug-in for the Windows operating system running Windows
XP, Vista, or Windows 7.
Many users have QuickTime installed on their computers as
it is bundled with the Apple iTunes software. With Apple’s domi-
nance in the portable media player and mobile phone markets,
this software is likely on the computers for a consumer audience.
In fact, iTunes currently has a 70%+ market share for the digital
QuickTime In-Depth music industry.
The native format to QuickTime is a .mov file. This is a stan-
For a detailed
overview of dard authoring format used by popular video editing tools like
QuickTime, visit Final Cut Pro, iMovie, and Premiere Pro. The .mov format is really
en.wikipedia.org/wiki/ a container file and can hold video that uses a variety of codecs.
QuickTime. Some of these are suited for the web, whereas others are meant
for desktop and professional editing.

Flash Video
Many web developers favor Flash video since it supports both
interactivity and tight integration with a website’s user interface.
Flash video options work well for embedded players. These can
be added easily to blogs or other websites.
Currently, the Flash plug-in has had limited support on mobile
devices. The primary complaints are power consumption and
stability. The Flash format is used widely, however, as a streaming
format for the web, as it can easily handle different connection
speeds and data rates. We’ll explore Flash video in greater depth
in our next chapter.
 Chapter 8  Encoding Video for The Web    155

The Pros and Cons of YouTube

Now owned by Google, YouTube began in early 2005. It quickly rose to the top of
video-sharing websites offering both user-generated and professionally created
video content. The service uses both Flash and H.264 video as the underlying
architecture and has recently started experimenting with HTML5.
Google makes web video technology essentially transparent to the end user through a relatively easy-to-use web
interface. Additionally YouTube has tie-ins with both Apple and Adobe software, which offer direct publishing in their
consumer lines of software.
Although YouTube is popular, many web creators avoid it. The site has a “flea market” feel to it with everything
being a free-for-all approach. Your content can get grouped with other content that is off topic or a direct competitor.
YouTube also does not make it easy for most creators to monetize their content through advertising. As such, YouTube
views are often seen as taking away from a video’s financial opportunity.
Our take is to use YouTube as a promotional tool. Therefore, place some of your content online with the site. For
podcasts that target niche or professional markets, you may want to avoid the website altogether and instead harness
the power of embedded Flash players that you promote and make available on your own.
If you do choose to use YouTube, be sure to carefully read the terms of service. We have seen YouTube license the
works of content creators for profit, while not sharing those profits with others. Additionally, be careful when using
embeddable players. Always uncheck the Show Related Content option, otherwise viewers will be encouraged to leave
your video and website to explore other videos on YouTube.

Windows Media
Windows Media Player is the default media player for the
Windows operating system. With that said, it does not tie in well
with Microsoft’s own portable media player, the Zune. As a player,
it can play back several formats including 3GP, AAC, AVCHD,
MPEG-4, WMV, and WMA. It can also play back many AVI, DivX,
MOV, and Xvid files.
Windows Media Video is the native video format for Windows
Media Player. We don’t recommend spending much effort to
release video files in the Windows Media format. The architecture
often suffers from compatibility issues between versions of the
plug-in. Because the player supports formats like MPEG-4, we
usually choose that path for broader compatibility.

Silverlight
Microsoft Silverlight is a proprietary application that works
with web browsers. It can be used as a way to provide anima-
tion, vector graphics, and video playback capabilities of Windows
Presentation Foundation. Silverlight can also play back WMV,
WMA, and MP3 media content, but it lacks support for formats
like MPEG-4 and H.264.
156   Chapter 8  Encoding Video for The Web

TiVo and DVR Players

A popular make of digital video recorders is TiVo. These boxes are popular among consumers, as they allow for the
recording of television programs, which can then be watched at a later time. To broaden the appeal of the devices,
TiVo has implemented support for podcasting and web video on three fronts.
The first way is that a select number of programs are available as TiVoCasts. These are essentially podcasts that are
released at a large size and are intended for playback on the set-top boxes. These shows can be visually browsed and recorded
for viewing like any other program on TiVo. In order for it to work, you’ll need a TiVo Series 2 or later DVR and a home network.
Chances are that your program is not already listed in the TiVoCast directory, which means that a user has to
manually subscribe. The second method is a little difficult, as the consumer has to use a remote control to enter the RSS
feed. This process is not hard; it just requires that your audience have an exact URL for the media RSS feed. You can
publish this address and instructions to your show’s website. You can also use shortcut URL services like tinyurl and
bit.ly to simplify the process.
The third way that TiVos support web video is through the TiVoToGo software option. This software enables you
to connect a TiVo to PCs on a network in order to share audio and video files. This option is acceptable, but it is not as
seamless as the two previous options.

Silverlight requires much more knowledge about web pro-

gramming than do other web video formats. However, like any-
thing Microsoft, its worth keeping an eye on as the company’s
technology continues to evolve with a mindset of reaching and
serving the enterprise-level business market.
Although Windows Media and Silverlight are two very different
technologies, they have several things in common. Microsoft makes
them both, they both continue to evolve quickly, and they are both
easier to create on a PC, but offer some Mac and Linux support.

Display Size
 Chapter 8  Encoding Video for The Web    157

MacBreak is produced by Pixel

Getting the correct display size is essential if you want your
Corps in HD. The show is then
files to work on noncomputer devices. If you intend your web distributed at three different
video files to work on portable media players, you can have two sizes to best serve its diverse
standard frame sizes: audience.

16:9 Content 4:3 Content

Portable media player 640 × 360 640 × 480

Mobile phone 320 × 180 320 × 240

On the other hand, video designed for high-definition playback

can go larger. Devices like Apple TV, Microsoft Xbox, and Sony
PlayStation can play back HD video. A variety of sizes can be used:

Input Output
640 × 480 640 × 480
1280 × 720 1280 × 720 or 960 × 540
1920 × 1080 1920 × 1080, 1280 × 720, or 960 × 540

Before you decide on a delivery size, however, you’ll need to

analyze your target audience and its technological makeup. Keep
an eye on how big your files are getting; you’ll eventually reach a
threshold of the customer’s willingness to download. How big can
the file get? Will people complain that the image quality doesn’t
look good, or will they complain that it takes too long to download?

Data Rate
The image quality of a web video is strongly affected by the
data rate of the file. Data rate is often described in kilobits per
second (kbps) or the larger Megabits per second (Mbps). These
numbers are generally specified in the compression software and
impact the total size of the file.
Higher data rates generally mean better image quality, but they
can also increase the amount of hardware needed to play back the
file. The data rate really becomes an issue when portable media play-
ers are involved. The larger data rate files won’t work on most por-
table media players, as they don’t contain the required processing
power to play back higher data rates. Additionally, larger data rates
can put a greater demand on power, which drains batteries quicker.
158   Chapter 8  Encoding Video for The Web

Should You
Hyper-Syndicate?
We firmly believe
that content
creators need to
explore the concept of
hyper-syndication. The
goal is to effectively reach
the broadest audience
possible. This means it’s
not a bad idea to try
multiple delivery
techniques. By releasing
your content in multiple
formats, you can reach
more people.
Although a broad
approach seems logical,
there are a few risks.
Using more than one
format adds costs to Compression Tools
both the compression
and hosting stages. There are many video compression (or encoding) tools on the
Your video’s ranking on market. Knowing which one (or ones) to pick is a process of read-
podcast or video-sharing ing reviews as well as trial and error. Unfortunately, older tools
sites can also suffer like Cleaner XL and Procoder have not kept up with newer for-
because you have your mats like H.264. On the other hand, less expensive compression
customer base spread tools for the price-sensitive podcasting audience have emerged.
across multiple channels.

Essential Features
When selecting a tool for encoding video, we look at ­several
aspects including speed, reliability, and price. These types of
factors are somewhat subjective and vary based on the video
­producer’s budget, operating system, and specific needs. Here are
a few specific features we look for when evaluating tools:
• MPEG-4 support. Support for the more basic MPEG-4 video
using the “Simple Profile” is fairly common. With that said, make
sure your encoding tool of choice supports this older format.
• H.264 support. Make sure that the encoding tool can create
podcast files using the modern Part 10 protocols we discussed
earlier. Older versions of encoding tools may not offer this
option, but the newer versions generally do.
• Flash video. The next most common format is Flash video.
Finding support for the older .flv format is easier than find-
ing support for the newer .f4v. Ideally, the tool you choose will
support both.
• Apple compatible presets. You need a good starting point for
your media compression settings. Look for a tool that offers
 Chapter 8  Encoding Video for The Web    159

A good compression tool

should offer broad support for
presets, as well as the ability
to filter and resize your video.
Stomp from shinywhitebox.com
is a powerful and affordable
Mac tool.

podcasting or iPod presets. This is the dominant media player

on the market (by far). Ignore it at your own peril.
• Customized presets. An important feature is the ability to
modify presets or create your own. By storing customized
­presets, you can ensure consistent results that are tailored to
fit your podcast’s needs.
• Compression preview. Through a compression preview, you
can simulate what the end file will look like before you invoke a
compression pass. This is a useful way to visualize what changes
to data rate and codec settings will mean for your audience.
• Batch processing. The ability to batch process files is an
essential time-saver. It allows you to add multiple files to the
­encoding tool and then apply presets to the files. This essen-
tially means that the time-intensive tasks of compression can
be run as unsupervised jobs overnight or on weekends. This
is an effective way to make money or at least save time, as it
allows you to focus on other tasks.

Affordable Compression Tools

As web video becomes the dominant standard for video con-
sumption, there are many affordable (or even free) options to cre-
ate web-ready video files. The biggest difference here is that many
of these tools lack batch processing and often offer minimal sup-
port for customized presets:
• QuickTime Pro (www.apple.com/quicktime/pro). This ver-
satile tool makes it easy to convert video from one format
to another. QuickTime Pro is a cross-platform solution and
lets Mac and Windows users convert video files to work with
160   Chapter 8  Encoding Video for The Web

Apple’s portable media players. The files QuickTime produces

are very compatible, but they don’t offer as many options as
other tools. QuickTime sells for $29.99 and is a preferred tool
for most media pros toolbox.
• iTunes (www.apple.com/itunes). Although generally thought
of as a podcasting client, you can use iTunes to convert incom-
patible media to an iPod/iPhone-ready format. Additionally,
iTunes is essential for testing your files to see if they are com-
patible with Apple’s portable media players. iTunes is a free,
cross-platform solution.
• iMovie/GarageBand (www.apple.com/ilife). Apple offers a
video editing and audio editing toolset as part of its iLife appli-
cation suite. This software is bundled with all Mac computers
and the upgrade to the latest version is $79. The tools are easy
to use and offer robust support for creating web video content
and then delivering compressed files. The iLife software is a
Mac-only solution.
Adobe Premiere Elements • Adobe Premiere Elements (www.adobe.com/products/­
brings flexible editing and premiereel). This versatile suite is well suited for Windows
encoding tools to the consumer.
 Chapter 8  Encoding Video for The Web    161

users. It offers an easy-to-use editing interface and robust sup-

port for podcasting, Flash video, and YouTube. This is an excel-
lent solution priced at $99 that offers flexibility and power
without being overly complex.
• MPEG Streamclip (www.squared5.com). MPEG Streamclip is
a powerful video converter, player, and editor. It works on both
Mac and Windows. It can encode to many formats, including
podcast-compatible formats; it can also cut, trim, and join
movies. The biggest benefit? It’s free!

MPEG Streamclip is a free,

cross-platform tool for viewing
and creating MPEG-4 files.
• Stomp (www.shinywhitebox.com/stomp/stomp.html). This
Mac-only tool bridges the gap from consumer to profes-
sional. It offers an easy-to-use interface but also unlocks fil-
ters and customized presets. The tool produces great results
and offers excellent visual feedback when changes are made
to a clip. Another unique feature is that the tool offers Core
Image Filters, which are fast and can perform tasks like color
correction.
• Microsoft Expression Encoder and Expression Encoder
Pro (www.microsoft.com/expression/products/Encoder4_
Overview.aspx). This PC-only tool comes in both a free and a
pro version. It replaces the Windows Media Encoder, which was
retired in mid-2010. It can create both Windows Media Video
and Silverlight files. The Pro version can also output H.264 and
AAC files as well. The application offers screen capture abilities
and can also handle captions and basic editing tasks.
162   Chapter 8  Encoding Video for The Web

Testing and then sticking with

compression presets can ensure
compatibility with portable media
players.

Full-Featured Compression Tools

If you work with professional-level video editing tools, there
are often professional-level encoding tools designed to match.
There is nothing wrong with the affordable tools mentioned ear-
lier. These tools just match all five criteria we identified at the
start of the chapter.
• Sorenson Squeeze (www.sorensonmedia.com). Sorenson
offers several variations of its Squeeze product line depend-
ing on features that you want. This is a cross-platform solu-
tion and is popular because of its ease of use. The product’s
price varies depending on if you need Flash video support and
which platform you choose to use. This is the leading PC prod-
uct on the market. Sorenson also offers a hardware option for
faster compression.
• Telestream Episode and Episode Pro (www.telestream.net).
The Episode Series offers several options for encoding media
to several formats. The tools are Mac only. They offer both cus-
tomizable presets and a flexible filtering engine for improving
video. The products are also very fast and have had frequent
updates with improved features. The most common tools
used by podcasters are the Episode and Episode Pro packages.
These are desktop encoders that use the computer’s hardware
to perform the encode.
• Apple Compressor (www.apple.com/finalcutstudio/­comp­ressor).
This powerful compression tool is included with Apple’s
Final Cut Studio bundle. It has full support for batch pro-
cessing and filtering. It also offers powerful networking fea-
tures that let you tie multiple computers into a ­compression
­cluster, which offers significant increases in speed. The prod-
uct is only sold as part of the bundled Final Cut Studio suite,
 Chapter 8  Encoding Video for The Web    163

Apple’s Compressor is bundled

which means you likely have it if you are using Final Cut Pro with Final Cut Studio. It offers
or Motion. Otherwise the suite is too comprehensive to buy a full-featured toolset and tight
for just this one application. integration with Final Cut Pro.
• Adobe Media Encoder (www.adobe.com). The Adobe Media
Encoder is not a standalone product. Rather, it is a core
­technology in the Adobe Creative Suite products that work
with video. You can easily access it through products like
Premiere Pro. It supports several formats besides podcasting
and offers excellent control.

Encoding Advice
There are four major facets that will shape your compression
Faster H.264
or encoding approach. We call them the “illities” to make them
on a Mac
easier to remember.
• Portability. How easy is the file to get from one device to If you want to
another? Is the compressed file small enough to transfer via dramatically speed up the
the Internet (and at what connection speed)? creation of H.264 files,
be sure to take a look
• Compatibility. Can multiple applications, hardware players,
at Turbo .264 HD from
and web browsers view the file?
Elgato (www.elgato.com).
• Affordability. Are the codec or hardware requirements within This accelerator plugs
your budget? Are there any licensing fees involved? into a USB port and can
• Quality. Does the image or sound quality match your audience’s decrease processing time
needs? by 400%. This is really
If you keep these four aspects of video files in mind, the a great way to quickly
­following compression advice will make sense. There are a lot of optimize clips with presets
easy things you can do to make your web videos look better. These for iPods, Apple TV, and
things usually happen in the compression software via filters and PSPs. Priced at $99, this
image processing. The more of these you can fix, the better results is an easy way to save
time when compressing
you’ll get. Every compression tool is different, but you’ll usually
podcasts.
find these options in the export dialog box or help menus.
164   Chapter 8  Encoding Video for The Web

The Language of Compression Simplified

There are several bits of lingo that will pop up when working with compression software. Here are the most common
with their plain English translations:
• Architecture. This is like the global family or classification of a file. It includes things such as MPEG, QuickTime,
Windows Media, and AIFF. It is the “global” picture.
• Batch processing. A benefit of many compression utilities, as it allows you to set up several files to run. This is a
key benefit because it allows you to walk away and leave your computer working hard.
• Bit rate. How much data per second there is in your file. The higher the number, the larger the file.
• Channels. Most common will be the choice between stereo and mono. Stereo files use two channels of audio data
and occupy twice the space as mono files.
• Codec. Stands for compressor/decompressor. The algorithm of code allows for further shrinking of the files. In some
cases, compressors cost additional money to the content creator. Decompressors are usually free to improve the
distribution plan and market share.
• Compress. The process of shrinking the file using mathematical algorithms. Modern compression techniques are
significantly more effective than their historical counterparts.
• Pixel aspect ratio. Computer pixels are square in shape, digital video pixels can be rectangular or nonsquare. The
video editing software or playback device (such as a television) usually compensates for this. Because you plan to
show the video on a computer or iPod, you will need to manually resize the document to the right shape.
• Resolution. Also called sample size, it is the number of bits used by the computer to describe the analog data.
Audio CDs are usually 16-bit. Bigger is higher quality.
• Sampling rate. The number of samples captured per second. Audio CDs are usually 44.1kHz, whereas digital video
is usually 48 kHz. Bigger is higher quality.
• Variable bit rate (VBR) compression. One of the most effective ways to create smaller files. The computer
analyzes the video file before compressing the data. Encoding this way is far slower, but if you can choose this
method for superior results.
 Chapter 8  Encoding Video for The Web    165

Start Big, Finish Small

Be sure to work with original source material or low com-
pressed sources. By sticking with DV or better quality, you’ll get
better compression and smaller file sizes. Recompressing a previ-
ously compressed file produces additional artifacts (think making
a photocopy of a photocopy).

De-interlace Your Video

The video frame on the left

shows interlacing in the fast-
Most NTSC and PAL video files are interlaced; some HD video moving areas. The frame on
is interlaced. This means that half of one frame is blended with the right shows the interlacing
half of the next. On a television, this produces smoother motion; removed.
on a computer or portable media player, it produces junk.
Most compression software offers a de-interlace option via
a checkbox or filter. If you are shrinking the video down to the
smaller 320 × 240 size, the basic de-interlace filter is fine to use.
If you are targeting the 640 × 480 size video, then be sure to use an
advance de-interlace option (such as blend or interpolate). These
generate better quality but can add significant processing time.

Lower Your Audio Standards

You can often lower the audio quality of your podcasting
files. Digital video generally uses a sample rate of 48 kHz, while
audio CDs are at 44.1 kHz. The audio is also usually delivered in
16-bit. If your audio is not complex (such as music), you can cut Going to Flash?
your sample rate. Different tools allow you to change to different If your podcast is
rates depending on codec. This can produce unnoticeable audio going to end up in
changes but allow space saving. a Flash player as
well, be sure to convert
your audio rate. Video
Shrink the Window cameras generally record
Although you don’t need to make video that is the size of a post- at 48 kHz, which Flash
age stamp, remember that reducing the window to half-size creates can’t handle. Unless you
a file that is 25% of the file size of the original. That’s a big savings want to hear “chipmunk
sounds,” be sure to convert
in space. These files are four times faster to download or stream.
to 44.1, 22, or 11 kHz.
Strongly evaluate the size that you use to deliver your web video.
166   Chapter 8  Encoding Video for The Web

Be sure that your video is being sized to no wider than 640 pixels for use on a portable media player. The correct
width is 640 × 480 for 4:3 video and 640 × 360 for 16:9 video. For half-screen video, divide these numbers in
half. Like most pro-level compression tools, the Adobe Media Encoder gives you precise control over size and
reshaping.

Reshape the Video

The Rule of 8 For standard definition, you’re likely working with a video file
that is sized 720 × 480 or 720 × 576 pixels. You need to resize this
Be sure that any
to 640 × 480 for it to properly display on the computer monitor
dimension you use
or portable media player screen. If the video is widescreen, then
for a codec is
divisible by 8. When a use 640 × 360. You must compensate for pixel aspect ratio with
dimension can be divided your web video. Additionally, you should exceed a width of 640 or
by 8, it allows the codec to a height of 480 if you want the files to work on a portable media
work most efficiently. player.
Otherwise the codec must If you’re working with high-definition sources, you may
do additional processing still need to reshape video. Some high-definition video cam-
before displaying the eras also use nonsquare pixels. There are generally three tar-
material. This results in get video sizes for HD video: 1920 × 1080, 1280 × 720, or 960 ×
longer encode times as well 540. The larger two sizes are usually reserved for downloadable
as increased challenges for
video (although movie trailers are often viewed in true HD by
the playback machine.
cinephiles).
 Chapter 8  Encoding Video for The Web    167

Restore the Washed-out Picture

Video signals usually operate between a RGB values of 16
through 235. On the other hand, computers use an RGB value of 0
through 255. You will need to restore the back-and-white point of
your image. Many applications have this option built in as a filter.
The biggest concern is to restore (or crush) the blacks. This will
help reduce visible noise in the file and result in a cleaner com-
pression. Look for options called Black-White Restore or some-
thing similar. Usually the default preset will work. You can always
adjust the filter until unwanted noise is removed in the shadowy
areas. This is essential if your material contains shadowy or dark
areas.

Improve the Saturation

A video file intended for podcast may also need the satura-
tion turned up a bit. This is to compensate for what we call the
“Wal-Mart effect.” Consumer TVs have their reds overcranked
to make skin tones appear richer on their cheap tubes. As such,
consumers are used to viewing rich reds and saturated images.
Just be careful to not overdue it, or your talent will look like they
fell asleep in a tanning bed. Many compression tools lack a satu-
ration effect, so be sure to boost the saturation within your NLE
if needed.
168   Chapter 8  Encoding Video for The Web

Frame Rate Reduction

Fortunately, web video compression is good at saving space.
You can still often see a benefit in file size though by reducing
frame rate. One method involves shooting the video at 24 fps,
which results in less material to encode. Another technique is to
try cutting the frame rate in half after you’ve shot (such as drop-
ping to 15 fps for NTSC or 12 fps for PAL). These tests are worth
trying in your experimentation to determine the right settings for
your video.

Test Your Settings

Looking for a Great

Source on Web
Compression
One of the
resources I find
most useful for
current information on
web compression is www
.proappstips.com. Here
you’ll find a wonderful
PDF called Simple
Encoding Recipes for the
Web. These recipes are
just that, step-by-step
directions for popular tools Your quest for “perfect’ compression will involve trial and
like Compressor, Squeeze, error (often a lot of trial and a little too much error). A good
and Episode. The place to start will be the default settings your compression
information works well for tool offers. Duplicate a preset setting, and rename it (such as
podcasting and covers
Flash_Large_2). Then modify a few of the variables we’ve dis-
other delivery methods like
cussed here. Remember, the biggest impact will be the data
YouTube and web pages
as well. The PDF sells for rate of your web video. You will often make several settings
$4.95 and its author, that are only slightly different, and then test them. When test-
Philip Hodgetts, is a ing, remember to use a short edited clip that contains multiple
respected member of the types of footage and audio to judge the impacts of compression
professional video on motion and audio.
community. This is a highly Before you compress a lot of video, create a small test file. Try
recommended resource of compressing 30 seconds of video with different settings. This test
ours. It even includes links file should ideally include a mixture of footage and graphics that
to web pages so you can will be in your final shows. The goal is to find compression set-
compare the results side
tings that work well with your material and are also compatible
by side.
with the technology your audience wants to use.
 Chapter 8  Encoding Video for The Web    169

Testing the Video on Multiple Devices

Always (and we mean always) test each web video setting by taking its files and transferring them to an intended player.
Put the file on an iPod and an iPhone, put it on a PlayStation Portable, put on a laptop, look at it on a Mac and Windows
box, and try a Microsoft Zune. You need to test your settings because something can go wrong with the file.
Trust us, we’ve been burned. A lot of factors are in play here. You don’t want to alienate your audience or anger a
client because of a careless mistake or change in delivery protocol. Post bad files, and the backlash can be strong. If it’s
any incentive, you may be able to write off the purchasing of additional technology on your taxes (be sure to discuss this
with your accountant first).

Section 508 Compliance

The goal of Section 508 is to ensure equal access to information. Photo © istockphoto.
Understanding Section
508 Compliance
For more infor­
Starting in 1998, the U.S. Congress amended the Rehabi­litation mation on Section
Act to make it easier for people with disabilities to access infor- 508 compliance,
mation through electronic means. The goal of the changes was to see the following websites:
remove barriers to information so that “disabled employees and • www.buyaccessible.gov
members of the public have access to information that is compa- • app.buyaccessible.gov/
rable to the access available to others.” baw
If you create content for the federal government, Section 508 • www.section508.gov
compliance has become increasingly important. Many state • www.accessibilityforum
­governments also follow suit. In fact, if the project you’re work- .org
• www.access-board.gov/
ing on receives federal or state funding, it may also be subject to
sec508/refresh/report
Section 508 compliance.
170   Chapter 8  Encoding Video for The Web

Impairment Types
Section 508 compliance attempts to assist those who face barriers
to information. The standard is broad, so it applies to those who make
content as well as software and even hardware devices. The groups it
attempts to help can face one or more of these impairments:
• Visual. Blindness, low vision, or color-blindness.
• Hearing. Deafness or hard of hearing.
• Motor. Inability to use a mouse or limited fine-motor control.
• Cognitive. Learning disabilities or an inability to remember or
focus on large amounts of information.

The Impact to Web Video

Section 508 law applies to all federal agencies when they
develop, procure, maintain, or use electronic and information
technology. Video is one part of that technology. The relevant
requirements can be found in section 1194.24 Video and multi-
media products (items c, d, and e):
(c) All training and informational video and multimedia pro-
ductions which support the agency’s mission, regardless
The use of audio descriptions of format, that contain speech or other audio information
can provide a clearer
necessary for the comprehension of the content, shall be
experience for those with visual
open or closed captioned.
impairment.
(d) All training and informational video and multimedia pro-
ductions which support the agency’s mission, regardless of
format, that contain visual information necessary for the
comprehension of the content, shall be audio described.
(e) Display or presentation of alternate text presentation
or audio descriptions shall be user-­selectable unless
permanent.
If you’re creating content independently, there is nothing in
section 508 that requires you to ­comply. However, many volun-
tarily comply. Making your content more accessible means more
potential viewers.

Visual Impairment Strategies

Although many forget the potential audience, those with
visual impairments want the same information as others. The
most common approach is to add audio description to the
video. What is added is similar to that provided by a play-by-play
announcer. What’s important is to highlight essential information
that is needed to comprehend the content. This often includes a
description of the people in the video as well as descriptions of
their on-camera actions.
 Chapter 8  Encoding Video for The Web    171

For those with partial visual impairment, there are ways

to improve the appearance of the video. As you build your
graphics, you should check them in ­grayscale mode for
proper contrast. The same holds true for your video footage.
By offering both captioned and
While shooting, be sure to look at your video on a grayscale
noncaptioned versions, this
monitor. The ­better the contrast, the easier it is for viewers to
government-produced podcast
­comprehend the information on the screen. is in compliance with Section
508 requirements.

Hearing Impairment Strategies Searchable Video in

The types of accommodations that are most prevalent are for Flash
those with hearing impairments. The goal here is to provide an Adobe has a whole
accurate transcription of the video program. Additionally, these suite of tools; audio
steps can also improve the search engine optimization for your transcription can be
videos and make them easier to find. How you accomplish this accomplished with Adobe
can be done in two ways. Soundbooth. Flash video
The first approach is to provide open captions, which place the can also embed
words of the video onscreen (typically synchronized to the speaker’s synchronized and
voice). These can be added using technology that is similar to what searchable text. For a
broadcasters use (which tends to cost between $15 to $40 per min- tutorial on the entire process,
visit http://tinyurl.com/
ute from most providers). There are specialized software programs
flvsearch.
such as MacCaption and CaptionMaker from www.cpcweb.com.
172   Chapter 8  Encoding Video for The Web

When creating captions for web video, a viewer must be able to turn captions off and on or they must always be
visible. Here graphics are edited above the video track, so these will always be visible.

The other approach most commonly employed is the use of

Captioning for
transcripts. By creating an accurate transcription, those with
QuickTime
hearing impairments can read along. Transcripts can be placed
To learn more on the web page that holds the video. They can also be added as a
about support for PDF to a podcasting media RSS feed. Transcription typically costs
captions inside of between $1 and $5 per minute. Costs vary based on turnaround
QuickTime-based media, time and the number of speakers. If your video is scripted, then
visit www.webaim.org/
transcription is easy to accomplish.
techniques/captions/
quicktime.
Understanding Flash Video
9
Flash Video is actually an all-encompassing term. The archi-
tecture has many different components (including three file
extensions and three different compression types). Since the
addition of video into version 6 in 2002, Flash has gone on to
claim market leader status. In 2009, Flash video accounted for
75% of all online video consumption.
Flash's popularity has been driven by two forces. Developers
prefer it as it offers a cross-platform browser-based application.
This makes it much easier to author once and deploy to many
screens. Web consumers have been attracted to it because of
both its ubiquity and its ease of use. In fact, it's estimated that
Flash technology is installed on 99% of all computers in mature
markets.

Here is the methodology for the survey

(www.adobe.com/products/player_census/methodology).

Worldwide Presence of Flash Player by Version, June 2010

The Push for Mobility
Flash Player 8
For an
and Below Flash Player 9 Flash Player 10
informational
Mature markets1 99.3% 99.2% 97.5% resource document
about Flash on mobile
United States/ 99.1% 99.1% 97.5%
devices, be sure to see
Canada www.adobe.com/devnet/
Europe2 99.3% 99.0% 97.9% devices/articles/content_
mobilization_faq.html.
Japan 99.7% 99.7% 97.1%
Emerging 99.0% 98.9% 96.1%
markets3

1. Mature markets include the United States, Canada, the United Kingdom, Germany, France, Japan,
Australia, and New Zealand.
2. Europe includes the United Kingdom, Germany, and France.
3. The emerging markets include China, South Korea, Russia, India, and Taiwan.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
173
174   Chapter 9  Understanding Flash Video

Flash technology has continued to evolve. Its current focus

The History of Flash is on substantial expansion into the mobile market. The Flash
For a Player has recently undergone major enhancements to prepare
comprehensive it for broader use on smart phones, tablets, and netbooks. Adobe
overview of Flash has added support for a variety of controls including multitouch,
technology, be sure to visit gestures, and accelerometer input.
wiki.gis.com/wiki/index
A key to Flash's future success will be its ability to successfully
.php/Adobe_Flash.
tap into hardware acceleration. This hurdle has been better over-
come on the PC platform than on the Mac. Being able to transfer
H.264 video decoding over to hardware will significantly improve
performance and power consumption. Video delivery is also being
improved with HTTP dynamic streaming, which can automatically
adjust the quality of video as connection speeds change (such as
with mobile devices).

Delivery of Flash Video

Three primary workflows are used to get Flash Video
files to  your audience. Each method has its benefits and
will influence how you choose to encode your Flash video
files. Let's explore your options and the best scenarios for
implementation.

Adobe Flash Media Server

One of the primary ways that video is delivered is through a
stream. The three major benefits of streaming Flash content are
that the content is optimized for fast delivery, the delivery servers
can adjust to meet fluctuations in demand, and the content can
be protected because it is never stored on the end user's com-
puter. An additional benefit for sponsored content is that Flash
supports detailed statistics (such as when people left a video
Mobile phones like the Nexus that was playing). This type of information can be important to
One from Google run the ­advertisers or funders.
Android operating system.
If you want to employ streaming, you’ll need to utilize a Flash
Flash technology was recently
Media Server. You can host your own Flash Media Server or use
enabled on these devices,
which will significantly extend a  content delivery network provider. The major benefit of a
its reach. Flash also works on Flash Media Server is that it uses bandwidth detection to deliver
the Palm webOS and Symbian the right-sized video to the customer. For example, a mobile
S60 platforms. Image courtesy phone user would receive significantly lower quality than a T1
of Google. modem user.
 Chapter 9  Understanding Flash Video    175

Apple and Adobe Go to War

There has been an increasingly public battle between Apple and Adobe over Flash technology. The spat has centered
on Apple's active maneuvers to block a Flash plug-in from the iPhone. Recently Apple raised the bar and blocked the
inclusion of applications for the iPhone that were built using Flash Professional.

Apple published a letter from its CEO Steve Jobs explaining why Apple would not support Flash on its iOS
platform. This letter caused quite a reaction in the tech world.

Mixed into this battle is the whole HTML5 movement, which often views Flash as the poster child for proprietary
systems. The truth is that the argument is much more complex than either side makes it out to be. Although it's true that
other formats are gaining adoption, Flash is still quite valid. The inclusion of H.264 into the Flash ecosystem has ensured
a broad compatibility for many years. With 99% penetration, it's going to be some time before consumers turn their back
on Flash.
What's more likely is that websites that want to serve the iOS audience (the operating system for iPhone, iPod touch,
and iPad) will adopt additional options. An HTML5 player can use the same H.264 encoded assets that are shared by
Flash—thus, less work on the part of content creators.
176   Chapter 9  Understanding Flash Video

Flash technology is truly an ecosystem. As a video publisher, you’ll likely use Adobe software like Flash Professional
or Flash Catalyst to build content. You can also create Flash video files with software made by other companies.
Others in more of the information technology space will rely on servers and frameworks to power the delivery of
video. The end consumer then uses the Flash Player plug-in or applications built with Adobe AIR for consumption.
Image courtesy of Adobe.

Progressive Download
Another option for delivering Flash video is progressive
download. This option can provide a similar experience as
streaming, in that the video starts playing before the entire file

Need a Flash Media

Server Partner?
Adobe keeps
two lists of
recommended
providers for a Flash
Media Server. The first
list contains service
providers who can host
Flash video files at www
.adobe.com/products/
flashmediaserver/fvss.
The second list contains
full-service publishing
partners at www.adobe
By using Flash, this embeddable player from blip.tv can prompt viewers to watch
.com/products/flashmedia
additional episodes from the publisher. What's desirable is that the player can
server/fmsp.
even be customized to link to a user-specified web address to drive traffic.
 Chapter 9  Understanding Flash Video    177

downloads. If the website accessing the video is a low-volume

site and makes limited use of video, progressive download is a Mobile Showcase
valid option. Adobe has
The file does not truly stream. Rather it will begin to cache several examples
once a user clicks the video's play button. After enough video of how Flash can
has downloaded to the local computer, the file begins to play. be deployed to mobile
This option is popular because of its simplicity. It's important to devices. Point a Flash-
enabled phone or media
note that it cannot scale to meet heavy demands, nor can it pro-
player at m.flash.com to
tect the files from being permanently saved to a user's computer.
see it in action.

Make sure your computers (and

your audience's) stay up to date
with the latest Flash Player.
Flash compatibility quickly
expands to add new features
and provide better compatibility
with more devices.

Embedded Video
The final option is to embed the Flash video files directly into
a Flash document. Once an SWF file is published, the video can
be included. This approach can be used for very short clips (such
as preloaders for a website).
Although these are the easiest files to author, there are ­several
drawbacks. The published files can quickly become bloated. We
also find that audio/video sync can drift. Lastly, any changes to the
content require a complete republish and reupload of the SWF file.

Essential Flash Formats

Flash technology has continued to evolve through the years.
This is due to several factors. First is the fact that it has changed
hands a few times. The technology began with a company called
FutureWave Software; it then became a center point for the
growth of Macromedia. Eventually, it was a corner piece in the
deal by Adobe Systems to purchase Macromedia.
178   Chapter 9  Understanding Flash Video

Another driving force for evolution has been the rapidly

changing web ecosystem. As rich multimedia content like
audio and then video came into play, Flash continued to grow.
The expansion of the web into portable devices and home
­electronics further created a need for a uniform format. As Apple
and Microsoft fought out the QuickTime and Windows Media
war, Flash quietly stole their customers away.

SWF
The SWF file format is an acronym with two meanings.
The first is “Small Web Format.” The acronym evolved to
mean “Shockwave Flash.” It is a repository format for multi­
media content and it can also hold vector graphics. The SWF
­format can play back video files, but it can do much more.
With authoring tools, an SWF file can offer interactive controls,
connections to web content, and even immersive content like
games.

FLV
The FLV format is the original and still most widely used Flash
video format. It first appeared in Flash version 6. It has evolved
from using the Sorenson Spark codec to a more space-efficient
method, the On2 VP6 encoder.

On2 VP6
The On2 VP6 codec is the best choice when you’re ­creating
Flash video files that you’d like to import for further ­authoring.
The files are compatible with the Flash Player 8 or later.
The codec supports an embedded alpha channel, which means
it's easy to layer the video with other elements in a Flash project.
The On2 VP6 codec is a significant improvement over the
original Sorenson Spark codec. It offers higher image quality and
lower data rates than the original Flash video files. The On2 VP6
codec does take more processing time to encode than Sorenson

SWF Version Flash Player Version

Codec (publish version) (required for playback)
Sorenson Spark 6 6, 7, 8
Sorenson Spark 7 7, 8, 9, 10
On2 VP6 6, 7, 8 8, 9, 10
H.264 9.2 or later 9.2 or later
 Chapter 9  Understanding Flash Video    179

Spark. It also places more demands on the viewer's computer. Be

sure you consider your target when deciding between On2 and Open Screen Project
Spark. Adobe and its
series of partners
have an interesting
Sorenson Spark initiative to “provide a
The initial implementation of video in Flash was powered by consistent runtime
the Sorenson Spark video codec. Sorenson has had a long his- environment for open web
tory with video compression, having created a popular codec for browsing and standalone
applications—taking
QuickTime media as well as an encoding program.
advantage of Adobe Flash
While the Spark codec was significant for its role in bring-
Player and, in the future,
ing video to Flash, it is now considered obsolete tech­nology. Adobe AIR.” See www
The only reason to still use it is for backward compatibility .openscreenproject.org
with ­significantly older versions of the browser plug-in. If your for examples and news
­audience is locked into an older operating system or is severely on their efforts.
­underpowered, the Spark codec could be a good match.

F4V
The F4V format is the newest flavor of Flash Video. The F4V
format draws on the open standard of H.264 (also called MPEG-4
Part 10 or AVC) and offers significantly better image quality and a
smaller file size.
The drawback is that the files require more time to encode.
They also take more processing power by the end user's ­computer
to decompress and view. To successfully deploy an F4V file, the
audience must be using a plug-in version of 9.0.r115. or later. This
plug-in does work with older operating systems, but it requires
the user's computer to be updated.
Another drawback of the format is that it lacks support for
alpha channels. This can make it difficult to composite video
layers into a multimedia project. The files also do not allow for
ActionScript cue points.
These drawbacks are not meant to discourage you from
using the F4V format. The use of H.264 video is increasingly
growing in popularity. It also increases the chance of broader
compatibility as web video continues to evolve. Just make
sure your target ­audience can support the F4V files in their
browsers.

Essential Tools for Creating Flash Video

There are many ways to create Flash video files. The path you
take will depend largely on the end goals you have in mind. Some
of the most popular tools for creating Flash video are made by the
company behind the technology, Adobe.
180   Chapter 9  Understanding Flash Video

Adobe Media Encoder

The Adobe Media Encoder is a full-featured encoding tool that
offers several output formats. Another key benefit is its ability to
import Premiere Pro and After Effects projects directly, and then
output compressed files. Self-contained video files can also be
optimized for use in Flash as an FLV or F4V file. The Adobe Media
Encoder is fast to use. Because of its dedicated focus as well as
its ability to process multiple files in a batch, video can be much
more efficiently processed.

Settings can be customized to create Flash video files at various sizes and quality
settings. You'll adjust data rate and playback size to compensate for different
connection speeds and devices.

Flash Professional
It is possible to import video files directly into Flash Pro­
fessional, then have them compress on export. Personally we don’t
recommend this workflow, as it makes a project cumbersome. You
can turn to Flash Professional to develop rich interactive content.
On its own, it offers sophisticated tools for animation, video deliv-
ery, and interactive design. You can also combine it with other
tools from Adobe like Illustrator and Photoshop.

Flash Catalyst
Adobe Flash Catalyst is a new addition to Adobe Creative
Suite 5. It is meant to be an easier solution for those looking to
create rich video players and interactive content. It doesn’t take
too much effort to learn and it seamlessly integrates with Adobe
 Chapter 9  Understanding Flash Video    181

Illustrator or Photoshop for creating menus, buttons, and other

user interface elements. Flash Catalyst is an excellent tool for
building interactive projects such as portfolios, training modules,
and entertainment websites.

Adobe Encore
Adobe Encore is typically thought of as a DVD authoring tool.
It in fact has evolved into much more. You can publish your proj-
ects as DVD, Blu-ray, and Flash SWF files. It is a fairly intuitive
authoring tool that makes it easy to combine video, audio, and
photo files into an interactive player. Creating the user interface
simply requires a trip to Photoshop.

Other Tools
There are many tools on the market for creating Flash video
files. Although you won’t find encoders included with tools from
Apple, Microsoft, or Sony, there are many others willing to offer
encoding tools. Here are a few we’ve used through the years (but
there are many more to choose from):
• Episode & Episode Pro (www.telestream.net)
• Sorenson Squeeze (www.sorensonmedia.com)
• DV Kitchen (www.dvcreators.net/dv-kitchen)

Creating a Custom Player with

Flash Professional
Although there are many Flash players on the market, many
don’t realize that Adobe Flash Professional lets you easily
­create your own custom player. There are lots of presets that
allow for additional customization. By using the Video Import
Wizard, Flash Professional will even guide you through the
process:
1. Launch Flash Professional.
2. Click the Create New ActionScript 3.0 button.
A new empty document opens that you can customize.
3. Choose File > Import > Import Video. The Import Video dialog
opens.
4. Click the Browse button and navigate to a video file.
You can precompress the file with the Adobe Media Encoder,
or select an uncompressed movie.
182   Chapter 9  Understanding Flash Video

When you launch Flash Professional you are presented with several choices. Use
the Create from Template or Create New columns to jump start your project. Be
sure to also check out the tutorials in the Learn column.

The Import Video window gives you several choices. Be sure to carefully
consider where your Flash video files will be hosted.
 Chapter 9  Understanding Flash Video    183

Import Options
Once you select a file for import, you’ll need to determine and
specify how you want to use the video file. The Video Import dia-
log provides three choices for video import. Be sure to carefully
consider your options:
• Load external video with playback component. This
option lets you place the video file on either a web server or
Flash Media Server. The project will also use an instance of
the FLVPlayback component to provide controls for video
­playback. This option works well for both the Adobe Flash
Media Server or a progressive download.
• Embed FLV or F4V in SWF and play in timeline. This option
embeds the actual video file into the document. The video file
is added to the project's timeline, and the video's frames are
represented in the timeline frames. This option should only be
used for very short clips, as it makes a very big file that must
load entirely before playback begins.
• Import as mobile device video bundled in SWF. This option
is similar to the previous embedding option. The difference is
that it creates a Flash Lite document for use on mobile devices.
We recommend using the Load external video with playback
component option. When ready, click Continue to go to the
­second page of the Video Import Wizard.

Skinning the Player

Once you’ve added video to a player, you’ll want to add actual
controls. Flash Professional has several sets to choose from, so
you can give the end user control over playback, volume, ­captions,
and more. Flash offers more than 40 skins to quickly add controls.
Flash Professional gives you both technical and aesthetic controls.
184   Chapter 9  Understanding Flash Video

1. From the Skin drop-down menu, choose a skin to place a set of

controls beneath the video.
2. Click the color swatch to change the color of the Flash controller.
The color you choose may be driven by the website you
intend to target or the color palette of your show or client.
3. Click Continue to go to the third page of the Video Import
Wizard.
Flash provides a summary of how it will process the video
file. Quickly review the details of how the video file will be
used.

4. Click the Finish button to bundle the video file into the docu-
ment for use in Flash.
Flash processes and compresses the video file and adds
metadata to the document. The canvas size may need to be
adjusted to fit your video.
 Chapter 9  Understanding Flash Video    185

5. Choose Modify > Document.

Enter a width and height that match your video (you can
select the player and see its size in the Properties panel). If
you’ve placed the controls beneath the video, be sure to pad
the height of the document by 35 pixels. Also change the frame
rate to match the source file.
6. Drag the player window until it's centered in the Flash
document.
You can also set the X and Y position in the Properties panel.
7. Choose File > Publish Preview > Default – (HTML) to preview
the video file in a web browser window.
Your computer's default web browser launches and opens
a temporary HTML file. Experiment with the player and make
sure it performs as expected. When you’re satisfied, close the
browser and return to Flash Professional. The document is
ready for publishing or further modifications as desired.
186   Chapter 9  Understanding Flash Video

Preprocessing for Video-Sharing Sites

Hundreds of websites offer embeddable players based on
Flash technology. For many, this is a key way to embed content on
their website and share with others. In this case, you are using the
hosting services of the video-sharing site as well as their embed-
dable players.
Although many take a role-the-dice approach, we believe in
preprocessing clips before we upload. By taking matters into your
own hands, you can get better-looking clips in the final player.
You can also get around some of the file size limits that can
impede the duration of the video.
Let's take a look at two of the most popular services, YouTube
and Facebook. The techniques discussed, however, can be
applied to many other sites as well.

YouTube Technical Specs

Although YouTube can ingest many formats of video, it works
best when you precompress your files. Uploading a Flash video
file is one of YouTube's most preferred input formats. Here are a
few technical specs to keep in mind:
 Chapter 9  Understanding Flash Video    187

Resolution Export at a square pixel size.

HD: 1280 × 720 or 1920 × 1080
SD: 640 × 480 or 640 × 360 (widescreen).
Frame rate Preserve the frame rate of the original.
Progressive frame rates without interlacing are
preferable.
Video YouTube strongly prefers H.264 video. As such,
codec stick with the newer F4V presets.
Audio MP3 or AAC preferred.
codec Stick with 44.1-kHz stereo audio, or sync issues
can occur.
Duration Standard accounts are limited to clips under
15 minutes in length. We have seen some
clips that run a few seconds over make it
through.
File size The uploaded file must be below 2 GB in
size. Although this is not a hard target to hit,
precompressing will cut down on upload time and
delays in launching the clip.
If you use the optional Advanced Uploader, files
need to be less than 20 GB in size.

Here are a few more practical tips:

• Aspect ratio. Make sure to compensate for nonsquare pixels.
Additionally, avoid adding letterboxing or pillarboxing bars.
The YouTube player automatically adds these items. Adding
your own can create a double-bar effect (called windowbox-
ing) and make the video screen smaller.
• Frame rate. Load the videos in the correct frame rate. If you
are using a video format with pulldown inserted (which is
often the case for 24p tape-based formats), be sure to remove
it in your nonlinear editor or compression tool.
• Resolution. YouTube supports up to 1080p for regular acc­
ounts. The site also has begun experimenting with 3D and
higher resolution content from digital cinema. Try to go with
the largest size you have access to.
• Testing. Make sure you load a test clip up before you post your
real clip. This can be an excerpt or a clip you set to private.
Once a video is released, there is no way to update it with a
new clip. You’ll have to remove the old one and release a new
one, hence giving up on viewers and rankings.
188   Chapter 9  Understanding Flash Video

Facebook Technical Specs

Just like YouTube, Facebook is very accepting of many
t­echnical formats. There is even more motivation to preprocess
your footage though because Facebook has significantly lower file
size limits. Here are a few technical specs to keep in mind:
Here are a few more practical tips:
• Aspect ratio. Make sure to compensate for nonsquare pixels.
Facebook can handle video between a 16 × 9 and a 9 × 6 aspect
ratio. This means that vertical clips can be uploaded. This is
done to support the upload of video from mobile phones, many
of which are held in a portrait orientation when shooting.
• Frame rate. Load the videos in the correct frame rate. If you
are using a video format with pulldown inserted (which is
often the case for 24p tape-based formats), be sure to remove
it in your nonlinear editor or compression tool.
• Resolution. Facebook supports up to 1080p for regular accounts.
The embeddable player is limited to stand-definition resolutions.
High-definition video is only viewable on the Facebook site.
• Testing. Be sure to upload a short test clip before loading your real
clips. Existing videos cannot be updated once they are loaded.
• Tagging. To increase the number of potential viewers, tag your
video with people who appear in the video or contributed to its
making. To tag, you must be “friends” with the person on Facebook.
 Chapter 9  Understanding Flash Video    189

Resolution Export at a square pixel size.

HD: 1280 × 720 or 1920 × 1080
SD: 640 × 480 or 640 × 360 (widescreen).
Frame rate Preserve the frame rate of the original. Progressive
frame rates without interlacing are preferable.
Video Facebook recommends the older flv format with
codec On2 VP6 encoding.
Audio MP3 or AAC preferred.
codec Stick with 44.1-kHz stereo audio, or sync issues can
occur.
Duration Standard accounts are limited to clips under
20 minutes in length. Loading up HD (or even
SD) clips of this duration is not possible without
preprocessing the footage and capping the data
rate.
File size The uploaded file must be less than 100 MB in size.
You must preprocess the video with compression
software before uploading, or your video will time
out after a few seconds are uploaded.
190   Chapter 9  Understanding Flash Video

PROfile: Produce Picker Podcast

All through high school and college, Ray Ortega spent “I heard a writer say, ‘you should write about, what you
several years working in produce. Little did he know that know about.’ I took that mindset and applied it to podcasting
combining his background with an interest in producing and the Produce Picker Podcast was born” said Ortega.” I had
web video would lead to success. The Produce Picker an overwhelming passion to learn how to produce a web show.
Podcast (www.producepicker.com) is a successful show Combining that passion with the knowledge gleaned through
all about “tips, tricks, and general know-how techniques years of work experience, I was able to produce a successful
of identifying, selecting, and preparing fresh fruits and video podcast.”
vegetables.” Like many web video creators, Ortega has had to develop
strategies to keep his content fresh and think of new ideas. He
points out that his show has plenty of room for creative growth
before he runs out of ideas.
“Walk into any produce department in any grocery store
and you'll see hundreds of items to talk about. Since my video
episodes are short in duration I focus on only one produce item
at a time. This leaves me with the potential for more shows
than I will probably ever actually produce.”
Ortega also emphasized his relationship with viewers as
being an important part of the creative process. He literally
takes requests, figuring that the most vocal members of his
audience are a good representation of his viewers.
“I am often asked to do an episode about a particular
produce item. Because I'm the one who decides on the content
that gets produced, I'm free to change what I will do at any given
time. I may be planning to produce an episode about oranges but
I have one or more viewers asking for tips on how to choose an
avocado,” said Ortega. “The audience, in this way, helps me to
produce content and when they see that I am listening to their
suggestions and requests, they are often more likely to become
that much more involved in my success.”
Ortega takes his topic seriously and often scripts his
demonstrations line for line. This is because he's trying to give
highly technical information in a short period of time.
 Chapter 9  Understanding Flash Video    191

“Fortunately I'm working with a subject I know well so

research is usually limited and often times I can just open a
text editor and type away,” said Ortega. “I want to make sure
that it's accurate since the videos tend to be how-to based.
However, there is always room for improv and almost certainly
how each segment will be shot is decided on set and often is a
very fluid process. While this is not what I would recommend
to most producers, it does seem to work for my show.”
Another lesson Ortega has learned is the need for pacing himself.
When launching a show, he recommends that you have a few
episodes ready so you can follow up and keep new viewers happy.
“I would definitely get more episodes “in the can” before
publishing my first,” said Ortega. “I was so excited to get
things going with my first shows that I released them as soon
as they were shot and edited. This workflow makes it very
hard to produce content on a regular schedule.”
“Producing quality web video is a lengthy process which is
often undertaken by a single individual especially in the
beginning. Shooting one episode can take several hours, editing
much more than that and remember there is all the time you
spend on promotion. Besides that, getting RSS feeds, websites,
graphics, etc., all takes considerable time to produce.”
192   Chapter 9  Understanding Flash Video

Ortega's advice is simple… build up some cushion and “Find friends and/or family members willing to help you
make sure your infrastructure is in place before you launch. get started and stay on if you continue to produce content. You
This includes making sure your website is working and might be amazed at the talent that surrounds you and is willing
promotional tools like Twitter and Facebook are live. to help out for free,” said Ortega.
Ortega generously gives time back to the web video He also stressed the need to take a look around the web
community. He's a board member for the DC Podcaster Alliance. video ecosystem for inspiration.
He also runs a twitter feed (@PodcastHelper) and podcast about “Watch other web shows. See what the successful
the art and technology of podcasting. Be sure to check out both shows have done. Get inspired by the creativity that is on
his website www.rayortega.com and The Podcasters Studio. the web and pull from all genres,” said Ortega. “Develop
Ortega offers two other bits of sage advice to those just your own style but don't feel like you can't be inspired by
getting started and on a tight budget. others.”
Podcasting and RSS
10
Essentials

There are differing opinions on the importance of podcasting.

The meaning of the term podcasting is often debated; some take
a broader view that includes the use of streaming video and web
players, whereas others adhere to a stricter definition of down-
loadable media using syndication technology. What most people
agree on, though, is that the world of digital media is constantly
changing.

Podcasting is a symbol of that change. It is possible for

a ­podcaster to reach out and connect with large audiences.
These audiences may not rival those consuming mainstream
media (although some podcasts regularly outperform cable and
­network television), but your odds of reaching a large percentage
of a niche market is substantial. One thing is certain—the cost
of reaching an audience through podcasting is dramatically less
than it is through traditional distribution methods.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
193
194   Chapter 10  Podcasting and RSS Essentials

Just What Is A Clear Definition of Podcasting

Podcasting?
The majority of people are still confused about what a ­podcast
Many people refer is. They've heard the word, but if pressed to define podcasting,
to podcasting as they'd likely say, “Well, you know, it's like stuff that you can down-
portable load and watch.” Although that's a true statement, it's a bit too
on-demand casting. It is vague. It's like asking, “What's a zebra?” and getting the answer,
thought of as an “You know, it's like an animal.” To create podcasts, you'll need a
alternative to broad­
solid understanding of the technology.
casting. Podcasting offers
Podcasting is another name for audio and video blogging
portable content that
people can watch when (you may also hear the words netcasting or videocasting used
they want, on a variety of by some). The general idea is that you post audio or video con-
players. tent that someone can subscribe to. You are essentially creating
a channel, one that you add audio, video, or print content to so
it can be automatically downloaded to a subscribers’ computer
or media player. All of this can occur without the need for email
blasts, people logging onto websites, or expensive ­shipping
bills.
Additionally, podcasting is much more affordable than stream-
ing and web video options. Podcasting uses a distributed model,
so instead of everyone coming to your website and clicking (then
wanting to watch the video at the same time), podcasts ­download
in the background automatically. This means that ­podcasts are
there, waiting to be watched whenever the consumer wants
them.

Common Misperceptions about Podcasting

As a podcast producer, you may be called on to act as both an
evangelist and a consultant. Not only will you have to give your
clients a clear definition of podcasting, but you'll also need to
debunk myths and misunderstandings.

Podcasting does not require

an Apple iPod. Consumers can
use all sorts of technology to
consume podcasts including
laptops, televisions, or a
Microsoft Zune (as seen here).
 Chapter 10  Podcasting and RSS Essentials    195

The biggest misunderstanding is that people ask for a pod-

cast when all they want is a video file that will play on an iPod.
That is not a podcast; it is an iPod-compatible file. Releasing a
single video file does not make a podcast; at best it's a webcast,
a one-time sort of thing. The likely motivation here is that the
clients want to do a press release saying they did a podcast or to
report to their shareholders that they've launched a podcast.
So what is a podcast? There are a few criteria that must be met
if you want your video to be considered a podcast:
1. Highly targeted content. The first is that the content should
be highly targeted; that is to say, the content is intended for
­consumption by an interested audience. Podcasting is ­generally
considered to be targeted at niche markets.
2. Compatible files. Additionally, the content can be an audio, a
video, or even a print file that is distributed via the Internet.
The technology relies on relatively open standards like MP3 for
audio, MPEG-4 for video, and PDF for print.

3. Syndicated. For a web video to be a podcast, it needs multiple

occurrences. Those occurrences are serialized, which means
there is some sort of plan for when they come out. It can be
daily, weekly, monthly, or as needed. Consistency with your
release schedule is important for building an audience.
4. Subscription option. A key aspect of podcasting technology is
its subscription component. Interested parties have the abil-
ity to subscribe to your podcast (and unsubscribe) at their own
volition. The subscription part is what's really important and
differentiates podcasts from other forms of web video.
This is the simplest definition that properly encapsulates all
aspects of a podcast. All of these points need to be met if you
want to create a podcast.
196   Chapter 10  Podcasting and RSS Essentials

Not All Web Videos Is Podcasting Restrictive?

are Podcasts Although there are some strict ­guidelines of what makes a
In order for a web
“true” podcast, don't let this scare you away from the technology.
video to be a Any video that you create to use in a podcast can also be released
podcast, it needs by other means. You can take podcasting content and post it to
multiple occurrences. video-­sharing sites like YouTube; you can take any of the video
Those occurrences are files and embed them on a web page; you can even put the video
serialized, which means on traditional channels like DVD or broadcast.
there is some sort of plan
for when they come out.
It can be daily, weekly,
monthly, or as needed.
Additionally, a podcast
needs to offer a
subscription component
that can be joined or left
at the end user's discretion

Devices like Apple TV and TiVo allow for podcasts to be viewed on television sets.

Who's Watching Podcasts

The podcasting audience is very diverse, but it skews toward
younger individuals. Half of all listeners are under 35. The flip
side of this statistic is that half of the audience is over 35, which
means that you can reach a wide variety of people. Let's take a
look at the specific breakdown.
Audience research has shown that 18- to 24-year-olds are more
likely to download audio, and 25- to 34-year-olds are the biggest
consumers of video. The popularity of video podcasting in older
demographics is due in part to the need for faster Internet con-
nections and more expensive hardware (both things that come
easier to older, more affluent audiences).
What is important to note is that the podcast audience is
pretty well diversified. For example, the same survey by Edison
Media Research found that the podcast audience is 49% female
and 51% male (essentially an even split). You'll need to make
this a part of your business case when discussing podcasts with
potential clients and industry peers. There are a lot of miscon-
ceptions about what podcasting is and who's watching. Your job
is not only to make podcasts but also to help others understand
in what situations podcasting works best.
 Chapter 10  Podcasting and RSS Essentials    197

Using a Podcast Aggregator

To make podcasts easier to find and consume, most people choose to use a podcast aggregator. An aggregator can be
a standalone software application or a website. Consumers use podcast aggregators to browse podcasts that they are
interested in. The podcasts can then be subscribed to for consumption of future episodes.

The Miro podcast player is unique in its broad support for platforms. Besides supporting Windows and
Mac, the software runs on several versions of Linux, including Ubuntu and Fedora.

An aggregator automates the process of checking for new content. The user specifies how often the
aggregator should check for new content (check every five minutes, check every hour, check once a day, etc.).
Once new content is found, the user can also specify what should happen. An aggregator can download
everything that's new, download on the newest episode, or simply inform the user that new content is
available.
If a user wants to consume video podcasts, a broadband Internet connection is very desirable. Although a podcast
can be consumed over a dial-up connection, it's a slow way to pull down large files. There are podcasting software
solutions for Windows, Mac, and Linux users:
• Apple iTunes (www.apple.com/itunes)
• Sony Media Go (www.sonycreativesoftware.com/products/mediago)
• Microsoft Zune Marketplace (www.zune.net)
• Miro Podcast Player (www.getmiro.com)
Aggregators can also be content management systems. For example, a user can manage podcasts using
Apple's iTunes or Microsoft's Zune software. Users can choose which episodes to sync with their portable players,
as well as how to handle old content (such as automatically deleting previously watched episodes to save hard
drive space).
198   Chapter 10  Podcasting and RSS Essentials

What's Holding Podcasting Back?

One of the limiting factors of podcasting is the inertia new
technology experiences in adoption. The mainstream popula-
tion needs time to learn how new technology works and what it
is good for. For example, TiVo-style DVR devices debuted in 1997,
but the product did not go mainstream until 2010 (when it was
estimated to be in 50% of all homes). For those of you counting,
that's a 13-year journey.

Podcasts work on many portable media players including those made by Sony,
Microsoft, and Google.

Another of podcasting's limiting factors is its name. Many

Portable Media
people are stuck on the word podcast, believing that they have to
Players Matter
have an iPod if they want to consume podcasts. It is important
According to the to emphasize the features of podcasting, rather than its name.
Diffusion Group, Many consumers are interested in accessing video that is highly
54% of podcasts ­portable and easy to get—content that speaks to their special
are consumed on a interests, that can be subscribed to for convenience, and that can
portable device rather
be delivered with little or no effort.
than a personal computer
Consumer-controlled video is the future, and podcasting is
(www.tdgresearch.com).
on the forefront of that revolution. Over time, the market and
technology will likely evolve. For a podcast (and podcasting as
a whole) to succeed, it is essential to emphasize the benefits to
the potential audience as well as enable the audience to consume
podcasts in easier ways.
 Chapter 10  Podcasting and RSS Essentials    199

How to Explain Podcasting to Your Clients

We often find that many have misperceptions about podcasting, so let's establish an easy to reference analogy that can
be used with clients. We equate a podcast to a media tool that behaves like TiVo or a magazine. Both of these media
forms allow people to choose topics that they are interested in, both offer subscription models, and both allow time
shifting and space shifting.
With podcasts and TiVo, people can watch or listen at their convenience—not just when a program is broadcast.
Both podcasts and TiVo let viewers browse and search; viewers can pick what they're interested in and then watch it
when it's convenient.
Many people browse and try things without ever subscribing. For example, you might find yourself at an airport with
a little time to fill. You might walk up to a magazine stand and if a cover catches your interest you might buy it. After
reading the magazine, you will likely make a decision about its value. You'll choose not to read it again, to try it out
when you think of it, or to subscribe. The idea with podcasting is similar to a magazine—a show's long-term success is
dependent on getting viewers to subscribe.

An Overview of RSS
RSS technology was designed with convenience as the ­primary
goal. The purpose of RSS is to make it easier for ­members of
your audience to find out about new content and have that
­information delivered to their computer. Because people are
interested in many topics, RSS makes it easier to keep up on the
latest ­information (without much effort).

A valid XML feed is easier

to read if you load it into a
program optimized for coding
such as BBEdit, TextMate, or
SubEthaEdit.

RSS is an XML-based form of code. It allows the structured

publishing of lists of hyperlinks, along with other descriptive
information (or metadata). This information lets viewers decide
which content they want to view or receive. A simple bit of soft-
ware, known as the feed reader or feed catcher, checks regularly
to see if the RSS feed contains new information. People can set
200   Chapter 10  Podcasting and RSS Essentials

their ­computers to fetch this information and display it. A com-

mon use is headline tickers or sidebars that people enable on
their computers. For example, Windows Vista users can subscribe
to RSS feeds and have the information appear above the desktop
in a floating box. This makes it easy to see the news a viewer is
most interested in.

A Brief History of RSS

The RSS formats evolved from several earlier attempts at
syndication. The ideas grew from the concept of restructur-
ing the information found on websites. This work is thought
to have been launched by Ramanathan V. Guha and others
in Apple Computer's Advanced Technology Group in 1995.
This then evolved into the Resource Description Framework
(RDF) site summary, the first version of RSS. RDF was an XML
­standard devoted to describing information resources. This
­version became known as RSS 0.9 and was intended for use in
the my.Netscape.com portal.
The technology continued to evolve, and in July of 1999, Dan
Libby of Netscape produced a new version, called RSS 0.91. This
version was further simplified and incorporated elements of Dave
Winer's Scripting News syndication format. The technology was
renamed Rich Site Summary (RSS). The technology had several
early adopters because many web publishers wanted to make
their content compatible with the dominant Netscape Navigator
web browser. Support for RSS waned, though, as new Netscape
owner America Online dropped support and all documentation
and tools from the Netscape site.
Two different development parties emerged to take up the
RSS mantle and continue development (without the approval of
Netscape). The RSS-DEV Working Group and Dave Winer com-
peted to create tools and refine the RSS technology, producing
different versions of RSS.
In December 2000, Winer released RSS 0.92, which offered the
enclosure element. The enclosure element allowed for the addi-
tion of audio and video files (and hence served as a spark for pod-
The RSS icon first appeared casting). In September 2002, Winer released a major new version
in the Mozilla Firefox web of RSS. Appropriately named RSS 2.0, the format was redubbed
browser. Microsoft then “Really Simple Syndication.”
adopted it for use in Internet
The copyright for RSS was assigned to Harvard's Berkman
Explorer and Outlook. The
Center for the Internet & Society in July 2003. At the same time,
Opera web browser then
followed along. This made the the RSS Advisory Board was launched to maintain and ­publish
orange square with white radio the specifications. The group is also charged with addressing
waves the industry standard. questions and developing a community for RSS. The group con-
Notably, Apple's Safari browser tinues to evolve the specification and address ambiguities in the
does not follow suit. technology that better enable web developers to deliver content.
 Chapter 10  Podcasting and RSS Essentials    201

A valid RSS feed contains

lots of useful information.
Additionally, it can be
subscribed to using several
different computers and
hardware devices.

What Can RSS Do?

The true beauty of RSS lies in its flexibility. A single RSS feed
can be read by a multitude of hardware and software technolo-
gies. Consumers like RSS because it cuts down on them ­having
to remember to go to their favorite websites. In 2005, Apple
introduced video-capable iPods and enabled support for video
podcasting in iTunes (mainly as a way to fill the iPod with free
content). TiVo has gotten on board by giving users the abil-
ity to either read podcasts from a computer in one's house or
directly subscribe to podcasts via RSS. TiVo offers channels
with preloaded, select podcasts, and you can manually (and
painfully) enter an RSS address with the remote control. Other
consumer devices, like Apple TV, Microsoft Zune and X-box,
and Sony PSP and PlayStation 3, have also gotten on board.
Cell phone manufacturers are starting to add the ability to
subscribe to podcasts on their mobile handhelds. Even many
television manufacturers are building Internet-ready TVs with
integrated RSS readers.
202   Chapter 10  Podcasting and RSS Essentials

RSS and Podcasting

The evolution of podcasting is closely tied to RSS. Once an
RSS feed is enabled, computers can fetch the content. You'll recall
that an aggregator program, which pulls all of the feeds into a
single interface, generally performs this task. The extension of the
RSS 2.0 branch allowed enclosures. This format has been widely
adopted and is the current standard for podcasting (due largely
in part to Apple adopting the format for its iTunes software).
Your RSS feed can support several media types. For video, the
choice is either MPEG-4 or the newer H.264 variety of files. You
can also enclose audio files (as MP3 files or Apple-specific M4A
files). For print materials, show notes, transcriptions, and more,
the feature-rich PDF format can be used.
The XML file associated with
your page allows for really simple
syndication (hence the name, RSS)
and it allows these text entries to
be easily syndicated—or in other
words, packaged, distributed, and
consumed. The end user can col-
lect the page's content without
actually having to revisit the web
page. As soon as something new
is added to the page, the podcast
aggregator application or web
browser indicates that new con-
tent is ready.

The Essential Steps to Publish a Podcast

1. Select or register your web address or domain name. While you don't have to choose a URL for your podcast,
it is a good idea to have a domain name associated with your show. Ultimately your audience will want to interact;
giving them a website to visit is essential to building an audience and a brand. You can use an existing website to
host a blog and your podcast feed, or you can register a new domain name. Popular registration services include
www.Register.com and www.GoDaddy.com.
2. Select a podcast-hosting option. You need to find a storage solution that matches your hosting needs. This will
be a combination of total storage and bandwidth allowances as well as technical support and customer service.
3. Build a blog. Adding a blog to a podcast is essential if you want to build an audience. Your viewers can interact in
forums, download resources related to your shows, and find additional opportunities to learn. A blog will also give
you a chance to monetize your viewership by offering products for sale. We'll address blogging solutions in our next
chapter.
4. Create an RSS feed. This is how your audience can subscribe to the content. A valid RSS feed is required for your
podcast to be listed in directories. We'll explore RSS feed creation in our next chapter.
 Chapter 10  Podcasting and RSS Essentials    203

Developing an RSS Feed

The goal with podcasting is not only to have an RSS feed that
is technically compliant but to have one that is well written and
that actually motivates casual browsers to come and view your
content. As such, the feed must contain elements that help ­others
find the show through web searches and enables the content to
stand out when people browse podcast directories.

A podcast feed contains both creative writing and code.

Although you can choose to ­generate the code portion by hand
or by using RSS feed software, you are on your own for the mar-
keting copy. An RSS feed has ­several components that help define
what a podcast is about. Let's take a look at the major elements
that involve creative writing:
• Podcast title. Your show needs an effective title that connects
with your audience. Although there are lots of differing opin-
ions about what makes a title good, we believe in simplicity
and brevity. Keeping a name simple means avoiding unneces-
sary humor or wit that outsiders might misunderstand. Brevity
means working the key topic early in the title, especially Feed Tutorial with
because many podcast search engines truncate titles when Sample Code
browsing. Looking for an
• Author. You may think that this is an easy one, but it's not. You in-depth tutorial
need to decide who should receive author credit for the show. on all the tags
Is this the name of your talent? Is it the sponsor? The produc- available in a feed as well
tion company? This is a tricky decision to make, and it should as sample code to modify?
come down to which name carries the most weight. We gen- Then be sure to check out
erally favor the name of the primary host and the production “How to Create RSS/XML
company. This way, casual searchers can find a show based on Feed for Podcasts” at
www.podcast411.com/
the “celebrity,” and the production company also gains name
howto_1.html.
recognition. Be prepared for the sponsor also wanting author
204   Chapter 10  Podcasting and RSS Essentials

credit; we usually recommend working the sponsor's name

into the show's description instead.
• Category. You need to determine which categories your show
appears in. You can specify up to three categories for your
show for the text search view. For the image-based browse
­system and for placement in the Top Podcasts lists, only the
first category is used. If you pick a subcategory, you'll auto-
matically appear in the parent category. For example, a
“Fashion & Beauty” listing in the iTunes Store would appear
in the “Arts” category as well. Do not pick three categories just
to have three. Make sure your podcast genuinely belongs in
the categories you assign it. Miscategorized shows are often
rejected from the iTunes Store as well as other directories.
• Description. Your show's description is very important.
It is the TV Guide-style listing that people will read when they
are browsing for new shows to try out. This is the one thing
that influences prospective customers the most once they've
landed on your podcast's page or entry in iTunes. They need to
believe that your show is worth downloading and that it ­covers

The descriptive information

about your podcast is the
primary way a new subscriber
finds and selects your podcast.
 Chapter 10  Podcasting and RSS Essentials    205

the subjects they're interested in. You are limited to 4,000

characters (including spaces) for a description, but we recom-
mend you keep it shorter than that. In our experience, a one-
or two-paragraph description should be more than adequate.
We strongly recommend you take a look at show descriptions
for the top-rated shows in the category you intend to choose.
Look for how different podcasters try to appeal to their cus-
tomer base. Depending on the style of your show and its sub-
ject matter, your style of writing may vary.
• Keywords. You can enter up to 12 keywords that help ­people
to search for your podcast. These keywords are meant to
supplement your show's description. iTunes will remove
your podcast if it includes lists of irrelevant words in the
itunes:summary, description, or itunes:keywords tags. Be sure
you separate each keyword with a comma.
• Episode title. The episode title is generally the name of the file
you publish. We recommend using your show title as an acro-
nym, followed by the episode number and a short title (e.g.,
PSV_76_Channels.m4v). This will indicate to new visitors that
your show is serialized and makes it easier for them to spot
unviewed content.
• Episode description. The episode description generally
ap­pears below or next to a show's title. You can assign a
description using up to 255 characters. Be sure to “get to the
point” quickly and describe the content of the episode. This is
also referred to as the subtitle.
• Content description. This is a standard RSS 2.0 element that
allows you to enter in show notes, messages, or other HTML-
based content that you would like to have associated with your
podcast. This is similar to the episode description element
previously mentioned except that it is the section of your RSS
feed that will be accessed by search engine robots and could
help new listeners find your podcast. Show notes (essentially a
transcription or outline of the show) should go in this section.
This is important because as of this date no reliable audio or
video search engines exist.

Your show's graphic should

help establish the show's
subject matter and tone.
206   Chapter 10  Podcasting and RSS Essentials

Creating a Feed That's iTunes Friendly

Because the majority of users find podcasts using the iTunes client, it's a good idea to focus on achieving an iTunes-
optimized feed. Apple offers the following advice about writing your feed:
• You need to pay very close attention to the title, author, description, and keywords tags at the <channel> level of
your podcast feed. This is the information that is indexed for searches. This is also the copy that becomes your
“packaging” in the store.
• Make your title specific. Apple says, “A podcast entitled ‘Our Community Bulletin’ is too vague and will attract no
subscribers, no matter how compelling the content.”
• The <itunes:summary> tag allows you to describe the show in great detail. Apple suggests telling your audience
about the “subject matter, media format, episode schedule, and other relevant info so that they know what they'll
be getting when they subscribe.” A good idea is to create a list of search terms you think a user would enter, then
build these into your podcast description.
• Minimize your use of keywords. iTunes favors the summary tag over keywords. iTunes recommends instead
that you use keywords for things like misspellings of names or titles. To prevent the abuse of keywords, iTunes
ignores all but the first 12 keywords you've entered.
• Make sure you assign a valid iTunes category (you can browse iTunes for a list of categories). This makes it more
likely the show will appear in its appropriate category and makes it easier for casual browsers to find your program.

• Show graphic. Your podcast needs a graphic to go with it. This

artwork should be square shaped, and it will appear on the
screen of the portable media player as well as in the ­podcast
aggregator software. This is also the artwork used in the
­podcast directories. Having eye-catching artwork that helps
brand your show is essential. This is often the first thing a
­person browsing sees, so be sure to get it right.

Anatomy of a Feed
Although we've identified many of the parts you'll need to
write or make decisions on, let's take a look at a feed from a tech-
nical angle. The iTunes Store requires that a feed use RSS 2.0.
You can also add some specialized tags that are highly useful in
helping people find your podcast. These iTunes tags often repeat
information already found in the feed, but they ensure compli-
ance with iTunes specifications.
<?xml version=“1.0” encoding=“utf-8”?>
<rss xmlns:itunes=“http://www.itunes.com/dtds/podcast-
1.0.dtd” version=“2.0”>

The RSS feed begins by identifying that it is using XML with

UTF-8 encoding for your feed. Other encodings are not guaran-
teed to work in iTunes. The feed is also identified as using RSS
version 2.0, which is needed for most podcasting aggregators.
 Chapter 10  Podcasting and RSS Essentials    207

Channel Information
After the RSS feed is identified, you need to populate it with
information about the channel. This information remains con-
stant and should apply to all shows within the series:

<channel>
<lastBuildDate>Mon, 12 Nov 2007 10:33:48 -0500</
lastBuildDate>
<title>Secrets of Style with Kim Foley</title>
<itunes:author>Kim Foley ,Äì RHED Pixel</
itunes:author>
<link>http://www.kimfoleystyle.com</link>
<language>en</language>
<copyright>©2011 RHED Pixel</copyright>

The feed then contains information about the channel; this

includes a build date, which identifies when the feed was last
modified, as well as the title and author of the show. You'll want
to identify what language the show is published in (it is a global
market after all) and specify who holds the show's copyright:
<itunes:summary>Want to be memorable, approachable and
exude confidence? If you are 40, 50, 60 or beyond you will
love this inspirational, detailed journey showing you all
the tricks and trade secrets of how to look fabulous. Kim
Foley, a television stylist for over 25 years, shares all
the secrets that make your favorite Hollywood stars look
great! She shares the secrets of illusion dressing and
spills the beans on the techniques of television stylists.
Watch the podcast series for makeup techniques, hairstyle
how to&apos;s and clothing advice to really flatter your
figure.</itunes:summary>
208   Chapter 10  Podcasting and RSS Essentials

This is the show's description. Remember, you are allowed up

to 4,000 characters to convince a potential viewer to watch.
<itunes:owner>
<itunes:name>Kim Foley</itunes:name>
<itunes:email>[email protected]</itunes:email>
</itunes:owner>

This information is not visible in the directories, but is there

so people can contact the podcast creator:
<itunes:image href5”http://podcastingforacause.com/kim.
jpg” />

This is a URL for the show's logo. The image must be a JPEG
or PNG file. Size the image to 900 × 900 pixels for maximum com-
patibility with iTunes.
<itunes:category text5”Arts”>
<itunes:category text5”Fashion &amp; Beauty”/>
<itunes:keywords>Fashion, Beauty, Hair, Makeup, Make-
up, Fitness, Kim Foley,Kim Foly, Red Pixel, RHED Pixel</
itunes:keywords>
<itunes:explicit>clean</itunes:explicit>

You should next identify the show's category or categories.

Remember to use keywords to address misspellings or ­additional
search criteria that aren't covered by the show's ­description.
Lastly, you should categorize the show using one of three labels:
<itunes:explict> yes, no, or clean. If you choose “yes,” an “explicit”
parental advisory graphic will appear next to your ­podcast
­artwork. If you choose “no” you will see no indicator. If you
­specify “clean,” then a “clean” graphic will appear.

Item Information
After the channel information comes the information for each
episode (or item). This information provides a description of each
episode. An accurate description is important because it moti-
vates viewers to keep watching your shows.
<item>
<title>Kim Foley – Makeup in Minutes</title>
<itunes:author>Kim Foley,Äì RHED Pixel</
itunes:author>
<itunes:subtitle>A two-minute makeup.
</itunes:subtitle>
<itunes:summary> Television stylist Kim
Foley shows you a two-minute makeup that will give you a
polished look when you&apos;re running out of time.
</itunes:summary>
 Chapter 10  Podcasting and RSS Essentials    209

This information contains the description for each episode. Be

detailed, but remember you have a 255-character limit for each
item.
<enclosure type5”video/mp4” url5” http://media.podhoster.com/
photoshop/Kim_Episode_4.mp4” length5”17977053” />

The <enclosure> tag must have three attributes:

• Type. What kind of file the enclosure is. iTunes supports the
extensions m4a, mp3, mov, mp4, m4v, and pdf. Other aggrega-
tors may support additional file types.
• URL. Identifies where the file lives on a server.
• Length. The length attribute is the file size in bytes.
<guid>http://media.podhoster.com/photoshop/Kim_Episode_4
.mp4</guid>
<pubDate>Mon, 12 Nov 2007 10:26:05 –0500</pubDate>
<itunes:explicit>clean</itunes:explicit>
<itunes:duration>00:01:31</itunes:duration>
<itunes:keywords>Fashion, Beauty, Hair, Makeup, Kim Foley
</itunes:keywords>

Every item in your feed must have a unique identifier that

never changes. This global user identification (or guid) is used to
determine which episodes are new. Most people choose to use
the episode URL for the guid value. You can also add informa-
tion about the file, including its publication date, duration, and
­additional keywords:
</item>

At the end of an item you must close the item off with the end
tag<Author text type A> </item><Author text type A>. You
can then start over and insert additional items to the feed.

Programming the Feed

There are several ways to create a podcast feed. Which method
you choose will depend on your skill level with RSS and your per-
sonal preference. Some people enjoy hand-coding their feed,
whereas others want to do everything with a web browser. There
is no right way—it depends on each situation—but here's an
overview of your options and some suggestions about when to
use each method.

Hand Coding RSS

Many podcasters choose to hand code their RSS feed. If you
have a background in web design or programming, then this
is a perfectly valid approach. You'll find a sample feed on the
iTunes tech spec page: www.apple.com/itunes/podcasts/specs
.html.
210   Chapter 10  Podcasting and RSS Essentials

The benefits of this approach are that it will deepen your

understanding of what is really happening with your files and
that it will give you precise control. The drawbacks are that you
may have to learn a new programming language and that it can
be time consuming.
We may sound wimpy, but we're not big fans of hand cod-
ing. We recommend using a tool to generate your RSS feed. Then
learn to read and analyze your feed as errors arise.

Blog-based Solutions
Using a blog software tool is an easy way to publish a podcast.
Blog software is both affordable and easy to use. Remember that
a podcast is essentially a blog with audio or video. This is proba-
bly the easiest way to create your RSS feed (especially if you want
a website to go along with your show).
To generate the feed, you can add an entry (or post) to
your blog. The post on your blog can contain show notes
(essentially an outline of the show) as well as any weblinks or
resources. This has the added benefit that many users choose
to subscribe to blogs with email notification. In this way you
can notify viewers who prefer to browse podcasts via a web
browser. The steps for creating a podcast from a blog feed vary
slightly depending on the software tool used but are very well
documented in the support forums or online documentation
for each tool.

iWeb is a useful application

for creating blogs and podcast
feeds. It is an easy-to-use
application that is good for
newer users and those looking
for a simple solution.
 Chapter 10  Podcasting and RSS Essentials    211

There are dozens of tools for creating blogs. Some are free,
such as the web-based Blogger. Others are full-featured and
require you to install components on your web server. A good
comparison of popular blogging tools can be found at www.ojr
.org/ojr/images/blog_software_comparison.cfm.
If you are looking for the easiest technical approach, try
a hosted blog solution. These can be active within minutes
and don't require you to set up hosting for the blog (you still
need hosting for your podcast media). The solutions can have
monthly charges, so be sure to explore your options fully. Here
are the three most popular hosted blogs:
• TypePad (www.typepad.com)
• Blogger (www.blogger.com)
• LiveJournal (www.livejournal.com)
If you host your own blog, you can gain greater control. There
are several tools that can work with new or existing web hosts.
Here are some of the most popular software tools:
• Movable Type (www.movabletype.org)
• WordPress (www.wordpress.org)
• RapidWeaver (www.realmacsoftware.com)
• iWeb (www.apple.com/ilife/iweb)
• Contribute (www.adobe.com/products/contribute)

Web-based Solutions
Many podcasters choose to use web-based solutions to gen-
erate their RSS feeds. Most podcast-hosting companies include
browser-based tools that make it easy to upload your files and
generate your RSS feed at the same time. We evaluated several
podcast hosting companies in our last chapter, and all but one
provided ways to create feeds using a web browser.
The major benefits of these web-based tools are ease of use and
compatibility. Because the tools are designed for ­nonprogra­m-
­mers, they prompt you to enter all of the required information.
This approach practically guarantees a compatible feed; it can also
open up many other options. Several hosting companies optimize
the feeds and make it easier by adding one-click subscriptions and One-Click Zune
email subscription lists. Podcast Link Builder
The principle drawback of using browser-based approaches Want a one-click
is a lack of speed. Entering information manually can create a button that lets
lot of repetition. If you have to load several episodes at once, the your readers
browser option generally limits you to a single upload at a time subscribe to your podcast
(which can result in a lot of waiting time). in the Zune Marketplace?
If you're new to podcasting, and are not prepared to invest the Then visit www
.zunepodcastsubscription
extra time in a blog, then browser-based solutions are generally
.com.
the best fit.
212   Chapter 10  Podcasting and RSS Essentials

WYSIWYG Solutions
As podcasting's popularity has
grown, a new crop of software
tools has emerged. WYSIWYG is an
acronym that stands for “what you
see is what you get,” and that's
exactly what these tools do. Several
software developers have released
RSS podcasting tools. The two
most notable are Podcast Maker
for the Mac (www.­lemon­zdream
.com/podcastmaker) and the Pod­
cast RSS Buddy for PC and Mac
(www.tolley.info/rssbuddy).
 Chapter 10  Podcasting and RSS Essentials    213

Both of these tools offer an easy-to-use interface. They also let

you simulate how the podcast will look in iTunes. Both programs
generate a standard feed as well as an optimized version with the
iTunes tags. Both tools are easy to use. Podcast Maker offers the
extra benefit of having an FTP program built in, which speeds up
the publishing process.
These solutions are best for podcasters who need to publish
several episodes in a short time period. These give you the ability
to control the feed creation process with the safety net of a pre-
view feature. The drawback is that both of these tools have small
development teams, so if you encounter problems or errors, you
can't expect the level of support that a major developer would
offer. With that said, we have found both of these products to be
reliable and easy to use.

Delivering Podcasts with Apple Compatibility

For most podcasters, compatibility with an iPod and iPhone
is an essential requirement. Although using an iPod or an iPhone
is not the only way your audience will consume your podcast, it
is still a very popular method. Therefore, you'll want your files to
work on Apple's portable media players.
The Apple iPod and the iPhone support video up to 640 ×
480. If you are targeting Apple TV for HD playback, you can use a
video file up to 1280 × 720. An Apple iPad screen can display 1024
× 768 pixels, but most publish 640 × 480 for it. You can ensure
­compatibility with iOS devices using the following guidelines:
• H.264 video, up to 1.5 Mbps, 640 × 480, 30 frames per sec.,
Low-Complexity version of the Baseline Profile with AAC-LC
audio up to 160 kbps, 48 kHz, stereo audio in .m4v, .mp4, and
.mov file formats

Need to Move an RSS Feed?

It is not uncommon to need to move a feed from time to time as your podcast evolves. This could be due to server
upgrades or a change in your podcast's website. This is why the <itunes:new-feed-url> tag exists.
This tag allows you to change the URL where the podcast feed is located without having to cancel and resubmit your
feed. You can add this item at <channel> level and it lets you redirect both iTunes and subscribers:
<itunes:new-feed-url>http://podcastingforacause.com/example.rss</itunes:new-feed-url>
After adding the tag to your old feed, leave it in place for at least 48 hours (the recommended time is two weeks).
You can then retire the old feed because iTunes will have updated its listings. For more information see www.apple
.com/itunes/store/podcaststechspecs.html#changing.
For other redirects, you'll use an HTTP 301 response. For details, see www.somacon.com/p145.php.
214   Chapter 10  Podcasting and RSS Essentials

• H.264 video, up to 768 kbps, 320 × 240, 30 frames per sec.,

Baseline Profile up to level 1.3 with AAC-LC audio up to 160
kbps, 48 kHz, stereo audio in .m4v, .mp4, and .mov file formats
• MPEG-4 video, up to 2.5 Mbps, 640 × 480, 30 frames per sec.,
simple profile with AAC-LC audio up to 160 kbps, 48 KHz,
­stereo audio in .m4v, .mp4, and .mov file formats
If you are podcasting high-definition video, you are likely tar-
geting computers and television sets. In this case it is a good idea
to use the Apple TV guidelines. The Apple TV unit is designed as
an easy way for consumers to play media from their personal
computers on their televisions or home entertainment systems.
You can ensure compatibility with Apple TV using the following
guidelines:
• H.264 video, up to 5 mbps, 1280 × 720, 24 fps, Progressive
Main Profile. Apple TV supports AAC-LC audio up to 320 Kbps.

Apple TV Video Specifications

Input Output
640 × 480, 30 fps 640 × 480, 30 fps, 3 mbps*
1280 × 720 24 fps 1280 × 720, 24p 5 mbps*
1280 × 720, 30 fps 960 × 540, 30 fps 4 mbps*
1920 × 1080, 24 fps 1280 × 720, 24 fps 5 mbps*
1920 × 1080, 30 fps 960 × 540, 30 fps 4 mbps*
1080i up to 60 fps 960 × 540, 30 fps 4 mbps*
*Represents an average bit rate.

If you want to create a single file that works on all iOS devices,
then deliver a 640 × 480 (or 640 × 360) file and keep the data rate
below 1.5 Mbps.

Publishing an RSS Feed

Once you've successfully built your podcast feed, you'll need to
register it with several podcast search engines. This is how new audi-
ence members can find you and subscribe to the show. The process
is straightforward but must be executed with care and precision.
If you make mistakes, your show can be delayed or blocked.

Testing the Feed

There are lots of things that can break a feed: a misplaced
character, a malformed date, the list goes on. Fortunately, test-
ing a feed is easy. Once you have your feed and media avail-
able online, you'll want to test it. The easiest way is to visit
 Chapter 10  Podcasting and RSS Essentials    215

www.feedvalid­ator.org, where you

can enter the address for your
feed. If there are errors in your
feed, they will be clearly iden-
tified. The website also offers
suggestions and links to more
information on how to fix com-
mon problems. This website is
invaluable and should be a part of
your testing process.
Once you think a feed is work-
ing, you should test it with the
iTunes client. Before you submit
the feed to directories for listing,
follow this easy process:
1. Launch the iTunes application.
2. In the Advanced menu, choose
Subscribe to Podcast.
3. Enter your feed URL in the text
box.
4. Click the OK button. Feed Validator helps identify
If things are set up correctly, the podcast will be added to your errors with your RSS feed and
Podcast playlist, which shows all the episodes you are subscribed suggests repairs you can make
to. If you see an orange circle next to the new podcast description, to improve compatibility.
it means that iTunes is successfully downloading the most recent
episode. When the orange circle disappears, the episode has been
downloaded. Double-click to play the selected episode. If the
­episode plays successfully, your RSS feed and media are iTunes
compliant and should be submitted to podcasting directories.

The Difference Between the iTunes Client

and the iTunes Store
You'll often see the word iTunes used to mean several things. The first means is a software application that allows Mac
and PC users to manage music, movies, podcasts, and TV shows. The program can help organize a large media library
and allows you to transfer content to devices like iPods, iPhones, iPads, and Apple TV.
The other meaning is an online site called the iTunes Store. This allows users to browse for purchase content as
well as free podcasts. When you submit a podcast to the iTunes Store, you are asking it to display your RSS feed in the
appropriate category and to make it searchable. If your feed is accepted, the iTunes Store updates the podcast directory
with new or updated information about your podcast.
Once a user subscribes to your podcast, they no longer need to access it through the iTunes Store. Instead, it
will be added to the Podcasts tab in the user's library. The feed is checked directly from your sever and the media is
downloaded from your server.
216   Chapter 10  Podcasting and RSS Essentials

Optimizing the Feed

Once your feed is valid, you can optimize it for greater com-
patibility and exposure. A popular service is FeedBurner (www.
feedburner.com), which is now owned by Google. FeedBurner
offers several free services, and since Google's purchase, the pro
features are now free as well.
FeedBurner optimizes a standard RSS feed and adds several
important features. FeedBurner publicizes your feed and offers
tools that make it easier for people to subscribe. The feed is
also optimized so it is ready for other web services such as digg,
Yahoo, del.icio.us, Google, and AOL. Most important, it provides
detailed traffic information so you can analyze your feed and who
is consuming it.
If you are creating your feed by hand or with a blogging or
WYSIWYG tool, FeedBurner can make the feed podcast-ready.
The feed is also optimized for web browsers, can be subscribed to
via email, and has multiple social media options enabled.

Submitting the RSS Feed

Email Subscriptions Before you submit your feed to directories, it needs to be
working properly. If your feed is not working and validated, as
Although it may we ­discussed earlier, your show could be blocked from directory
seem counter­ sites. When a podcast is ready, you need to submit it for inclusion.
intuitive, many
viewers want to be notified
via email when a new Submitting the Feed to iTunes
podcast episode comes out. The first place you submit should be the iTunes Store (this is
Be sure to take advantage where your biggest audience will come from). If, when you are
of the email list options testing the feed, you can subscribe to your podcast using the
offered by FeedBurner and Advanced menu, then your show is ready to submit.
several podcast hosting To register a podcast on iTunes, you'll need to have a valid
companies.
iTunes account (which requires a valid credit card, but you won't
 Chapter 10  Podcasting and RSS Essentials    217

be charged unless you make purchases). Apple requires users to

log in, which increases the likelihood the user's contact informa-
tion will be valid;
Advice on Succeeding
1. Launch the iTunes application.
in the iTunes Store
2. Click the iTunes Store icon in your sources list in the left column.
from Apple
3. In the top navigation banner, in the iTunes Store box, click the
Podcasts link to go to the Podcasts page. Looking for some
4. In the Podcast Quick Links box in the upper right corner, click helpful tips on
the Submit a Podcast link. how to succeed in
the iTunes Store? Apple
5. Follow the instructions on the Submit a Podcast page. You will
offers a useful video called
need to have your podcast feed URL ready.
“The Podcast Recipe:
6. If you are not logged in, iTunes will prompt you to do so before Producing a Successful
accepting your submission. Show.” They promote this
7. If your RSS feed is valid and has all of the recommended iTunes as an opportunity to “find
tags, you will see a summary page after you submit your feed out what it takes to
URL. If some of the required items are missing, iTunes will perform a great-sounding
prompt you to fill them in. podcast, produce a
professional show, and
promote a podcast to
Submit to More Directories reach as many people as
Although the iTunes Store has about 70% of the market for pod- possible.” The online
cast subscriptions, it's not the only game in town. There are s­ everal seminar is free (www
more podcast directories on the market. Some are for ­special inter- .seminars.apple.com/
seminarsonline/podcast/
ests like religion or family-friendly content. You can find a useful
apple/index.html).
directory at www.masternewmedia.org/podcast_directory.
218   Chapter 10  Podcasting and RSS Essentials

We recommend submitting to the following podcast directories:

• Podcast Alley (www.podcastalley.com)
• Zune Marketplace (www.zune.net)
• Podcast Directory (www.podcastdirectory.com)
• Odeo.com (www.odeo.com)
• Podcast Pickle (www.podcastpickle.com)
• MeFeedia (www.mefeedia.com)

The Submission Queue

Once you submit a podcast to the iTunes Store, it needs to be
reviewed. Depending on the number of shows submitted, this
could take awhile. iTunes actually has its shows reviewed by live
humans. The same holds true for other directories like the Zune
Marketplace.
 Chapter 10  Podcasting and RSS Essentials    219

If you want to ensure your podcast makes it out of the

How to Jump the
approval queue, check the following issues:
Queue
• Are there any technical problems with the feed? This includes
a lack of episodes or the inability to download or play episodes If you are on a
from the host server. deadline and need
• Do you require a login or password? If you require a login your feed to be
or password to access your feed, it will be blocked from the live by a certain date, start
early. When pressed for
iTunes Store.
time, we build our feed
• Does your podcast include a large amount of sexual content
early. Even if the first
or a title that uses explicit language? If so, your show will be episodes aren't ready, we
rejected. You can use explicit language in a show, but it must cut together a promotional
be labeled as explicit. trailer that explains the
• Have you misused copyrighted material? If you misrepresent concept of the show and
Apple copyrights, including “iPod” or “iTunes,” your show will offers a taste of what's to
be blocked. This includes using an image of an iPod in your come. Most directories will
show artwork. block “test” feeds, so
• Could your content be considered offensive? Material that is make yours real and
deemed offensive, such as racist content or child pornogra- populate it with a trailer.
Your feed will be ready to
phy, is not allowed in the iTunes Store.
go when you need it.
Addressing these issues is a good idea before you submit to
any other podcast directory as well. Keep in mind that all listings
will take some time to appear. For example, it can take an ­average
of five days for a listing to appear in the browseable categories of
the iTunes Store. Your show's logo can take even longer to appear
because images must be cached, then propagated across ­multiple
servers.
220   Chapter 10  Podcasting and RSS Essentials

PROfile: Photoshop User TV

Photoshop User TV (www.photoshopusertv.com) is a very “Just because you get in front of a camera doesn't mean
popular podcast produced by the National Association of you have to be serious,” said Kloskowski. “If you are serious
Photoshop Professionals (NAPP). The show offers a collection then by all means, don't try to change that. If you're not serious
of tips, tricks, tutorials and news about Adobe Photoshop. then have fun. People can get the information in podcasts
Photoshop User TV runs weekly during the 13-week season anywhere. They'll watch your podcast because of personality.
with a 4-week break between seasons. The show has a They can relate to it.”
huge following… keeping it consistently in the Top 5 for its While this approach doesn't appeal to all viewers,
category. Kloskowski emphasized that is impossible to create a show for
everyone.
“The sure way to failure is trying to please everyone out
there. Pick an audience and stick with them,” said Kloskowski.
“Cover the things that you're interested in. You'll enjoy it more
and your audience will relate to you more if you do. For better or
worse, put yourself, your opinions, your recommendations and
your personality into it and that's what people will come back
for.”
This approach has worked well for the show. Photoshop
The show is hosted by three well-known authors and User TV frequently tops a million viewers for their episodes.
trainers, known as The Photoshop Guys. Each week, Scott This sort of traction has attracted major sponsors to the show,
Kelby, Dave Cross, and Matt Kloskowski get together to which help cover the cost of producing and delivering the
show timesaving techniques, inspirational photography, weekly episode. Subscribers are encouraged to subscribe to
and technical news. The show is well-known for its mix or the show, so it will download automatically. Casual browsers,
technical subject matter and good humor. though, can't access the back catalog.
 Chapter 10  Podcasting and RSS Essentials    221

“Every week, we post a new episode of PhotoshopUser come back and try our other products,” said Kloskowski. If they
TV that you can watch, download and keep forever and ever,” didn't like it then no harm done. It didn't cost them a thing. It
said Kelby. Members of the National Association of Photoshop really comes down to exposure though.”
Professionals (NAPP) have access to the entire archive of That exposure plan has worked out well. According to
PhotoshopUser TV episodes as part of their membership. Scott Kelby, “The show has reached nearly three million
The show attracts new members to the organization, downloads in a month. We never dreamed it would take on the
which also publishes books, online training, magazines, and life it has but we're thrilled to be along for the ride.” The show
conferences. The use of a podcast is a way to attract new is also very popular on a global scale, and also tops the charts
people to the NAPP training products. in the International iTunes directories as well.
“We love to teach people how to use Photoshop and “It's amazing. We get emails, feedback, and questions
podcasting was a way to get that training out to a lot of people from people around the world. It takes up a lot of time but it's
that wouldn't have otherwise seen it. If they like it, then hey… fun too,” said Kloskowski. “I guess the main impact is time. It
good for them. They got some free tutorials and maybe they'll takes plenty of time to keep up with it but the rewards (both
business and personal) that we make from it are priceless.”

Gear List
• 3 Panasonic AG-HCM150 cameras
• 6 Sennheiser G3 wireless lav microphones
• Mackie Onyx Mixing board
• Westcott Spiderlight 3200k halogen lights
• Lowell Pro-lights and Omni lights
• Elation DMX LED Wash lights
• DMX Lighting Controller and Dimmers
• Kessler Crane system
• Manfrotto tripods with 503 heads
This page intentionally left blank
Hosting Web Video
11
You've developed great content, executed a (near) flawless pro-
duction, edited a masterpiece, and compressed it to a small file
that works on an iPod, laptop, and Droid phone. Now what? Well,
your web video is ready to share with the world, so get it out there.
You'll need to place your media files on a file server that can
be accessed from the Internet. You'll need to find a location that
can handle the demands of large files and lots of requests. After
all, web videos are relatively large compared to typical files that
are accessed with web browsers. A typical web hosting solution
just won't cut it.

Having your files hosted on a robust server with an RSS feed can enable
publishing to powerful directories like the Apple iTunes Store.

Website Requirements
As a web video creator, we highly recommend that you have
a dedicated website for your creations. This site may see much
lower traffic than your video receives via service like YouTube or
iTunes, but it's truly your traffic.
© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
223
224   Chapter 11  Hosting Web Video

By giving your most interested viewers a clear destination to

visit, you increase the chance for a meaningful exchange with the
audience. We recommend setting up a blog to house entries for
each video as well as other text-based content you want to share.

RHED Pixel maintains the

graphics blog RasterVector
.com as a resource site for
other professionals. The site
is built with RapidWeaver, a
blogging platform. The site also
sells additional products and
services.

Having a site is also important as it lets you better monetize

your videos. Sponsors will want a place for banner advertising.
Viewers will want to read show notes and take action. You'll also
find a real need for people who want to connect and evangelize
your content.
Creating a clear destination for interested parties to converge,
especially if it's a destination under your complete control, is a
good thing.

Budgeting for Hosting

We generally equate serving video on the Internet to hiring
a caterer to serve a party. If you buy too much, it's just ­wasteful
and you'll have leftovers that won't keep (after all, you pay for
­bandwidth whether you use it or not). On the other hand, if
you're too conservative and don't get enough, everyone stands
around ­complaining and no one goes away satisfied.
 Chapter 11  Hosting Web Video    225

Finding a Good Domain Name

You'll likely want to find a custom URL that matches the name or content of your web video. This will give you a
website property that you can develop to support your videos. The dot-com names are the most popular, but you can
choose others such as dot-tv, dot-net, or dot-org depending on the content of your show. The domain registration
services have search engines for finding available names. Here are a few practical pieces of advice when creating your
custom URL:
• Try to find a URL that is short and easy to remember.
• Try to match your podcast, production company, or video series name and URL if possible. This will create synergy
and make it easier for your viewers to remember it.
• If you want your website to appear higher in search engine results, work the topic into the URL. For example, the URL
www.PhotoshopforVideo.com ranks high when people search for information about Photoshop and video editing as
well as for Photoshop training videos.
• Be sure to rent your domain for multiple years or set it to automatically renew. You don't want to build up a popular
show and domain, and then lose it because you forget to register it again.

Free Hosting
There are several services that offer free video hosting. These
plans generally offer a smaller amount of storage and may have
bandwidth caps. These plans generally require you to use web-
based tools for generating your RSS file (or offer no RSS feed at all).
The biggest drawback is that most of these free plans will insert
ads into your video (and they do not share revenue). With the large
amount of affordable hosting plans, we generally r­ ecommend stay-
ing away from “free” plans—after all, you get what you pay for.
226   Chapter 11  Hosting Web Video

Affordable Hosting
The costs for video hosting vary greatly and will require the
producer to evaluate each purchase based on several factors
(which we'll explore in a moment). There are several moderately
priced ($10 to $50 a month) plans that offer unlimited bandwidth
and storage from 200 MB to a few gigabytes. Most of these give
you precise control over an RSS feed and allow a high level of cus-
tomization. There are several “small” differences between plans,
such as FTP access and detailed statistics. For producers with
high volume needs, several hosting companies offer larger plans.

Offsite, Dedicated Hosting

Many web-hosting companies offer dedicated servers that
you can use for your videos. If you are willing to pay for the entire
machine, they'll provide the service and Internet connection.
For example, GoDaddy offers 2000 GB of storage and 3000 GB of
transfer per month for about $270. Depending on how big your
show gets, be sure to consider using a dedicated host. You should
also weigh the costs of renting a server versus installing and
maintaining your own (and the required ­network connection).
We often find that external solutions are best unless the client has
a long history of running its own servers at very high bandwidths.

© iStockphoto.

Self-Hosting
If your company runs its own server, you can certainly
c­ onsider hosting your web video files yourself. We just highly
­recommend having a discussion with the IT department early on.
Some of our clients choose to add dedicated servers for ­podcasts
and web video, but most have been content with an enterprise-
level hosting plan from an outside provider. In this case, they put
the RSS feed and embeddable players on their site but keep the
large media files offsite to improve stability and performance.
 Chapter 11  Hosting Web Video    227

The Costs of Using a Website-Hosting Service

There are several providers of affordable website-hosting plans. These are not podcast or web video hosting plans.
Although the website plans may offer high bandwidth options, you may be in violation of the plan's agreement if you
place large media files online.
When each media file is 20 to 80 MB, it is so easy to go over your bandwidth limit. We had a web-hosting plan with
20 TB of data transfer. We thought, we'll never use that. We were wrong. We logged in a week and a half later and
we had already incurred $100 in overage charges because iTunes had decided to put our podcast on the front page that
week and everybody found it.
Even if you can afford the bandwidth, many web-hosting plans specifically identify large media files in their ­terms-
of-service agreements. We have had entire websites suspended because of large files and high usage. Be sure to look
closely at web-hosting agreements if you decide to go this route.
The short lesson here is be sure to choose a video hosting plan with an unlimited bandwidth option.

Hosting Requirements
Podcasters and web video producers have some unique require-
ments when it comes time to finding the right home for their video
files. It's important that your hosting company support the work-
flow you desire. Do you plan to upload files with an FTP program?
Do you want to host your RSS feed on your own website? Do you
want the hosting company to generate your RSS feed for you? Do
you need customizable video players? What sort of social media
functions do you need? There are several questions to ask when
looking for the right host.

Bandwidth
Web video files can get relatively big. Combine that with even
a relatively moderately sized audience and you need a lot of
bandwidth. The term bandwidth is used to describe the amount
of data that can be transferred as part of the chosen hosting plan.
An easy way to think of this is as the monthly data transfer rate.

As your library grows, unlimited

bandwidth plans become
critical. Be sure to track your
bandwidth usage over time. Its
important to keep an eye on
it, or you may get expensive
overage charges or have your
site shutdown.
228   Chapter 11  Hosting Web Video

Unlimited Bandwidth
There are dedicated podcast-hosting servers that are different than web-hosting services. These generally have very low
prices. On the other hand, streaming video services can vary greatly in price because of their higher performance.
You want a plan that has a no-bandwidth charge, so if your viewership goes through the roof, you're not paying
through the nose for it. The last thing you want is a web video that costs you a bunch of money to make and then a
bunch more money just to deliver (especially if you're not making direct money off the content).
Therefore, it's critical that you attempt to estimate and then measure your audience. What you are trying to do is
estimate how much storage and bandwidth you need. Try to determine how many people are going to pull down each
episode; initially this may be a guess, but an attempt at accuracy is better than none at all. Additionally, how many
episodes do you want to have up at a time? You have to weigh the total usage (or bandwidth) you need as well as how
much total storage you want.

Exceeding your bandwidth limits generally has two outcomes.

The first is that your files can be “capped,” which means that your
videos (and possibly website) will no longer download. This is an
undesirable outcome, as your site will appear to essentially stop
working. The other likely scenario is overage charges. Just like what
happens when you go over your allotted minutes on a cell phone
plan, overage charges can add up quickly.

How Much Is Enough? Storage

Depending on the type of hosting plan you choose, your
Determining how
amount of total storage will vary. Just how much storage do you
much storage and
bandwidth you'll need? Well it really depends on how many episodes you want to
need can be a bit tricky have online at once. Do you want to keep all of your episodes
when you try to think in available in an archive? Will you just keep the current episode up?
abstracts. So let's take a The answer probably falls somewhere in between.
sample scenario. When
we release a five-minute
standard definition video,
it's about 20 MB. If we
release four of these in a
month, we need 80 MB
of storage. If our audience
of 500 downloads each
episode in a month, we'd
need about 40 GB of
bandwidth. Notice how
quickly videos consume
bandwidth? As such, the
unlimited bandwidth
plans are the only way
to go as soon as your
audience grows.
 Chapter 11  Hosting Web Video    229

Take a look at the average size of your video files. Then multi-
ply that size by the number of episodes you'd like to keep online
at once. For example, if your average episode size is 40 MB and
you want to keep 20 episodes up at once, you'll need about 800
MB. To allow for flexibility, you should choose a 1-GB hosting
plan in this scenario.

RSS Tools
Several podcast-hosting plans offer a suite of RSS tools. Many
of the sites are designed to offer web-based feed generation tools.
You can create the RSS feed by simply filling information into a
web form. These RSS tools are a useful way to track downloads as
well as syndicate the videos to other websites.

Social Media Integration

Many video hosting companies now offer direct ties into social
media websites. These can allow your audience to do things like
send a tweet to Twitter or post a video to their Facebook page.
Having these features and more (such as embeddable play-
ers) can dramatically increase the reach of your video. If these
­features are not available, they can be often stitched into your
blog or website. Native support, however, is the best option.

YouTube follows the practice of many other sites and allows users one-click
posting to popular social media sites like Facebook, Twitter, and orkut.
230   Chapter 11  Hosting Web Video

Need FTP Software? Upload via File Transfer Protocol

The use of file transfer protocol (FTP) is a convenient way to
There are lots of
FTP programs
transfer multiple files to a server. The convenience is that you
on the market. can transfer multiple files simultaneously (which lets you set up
Here are a few to choose a large transfer, then walk away from the working computer).
from: Additionally, an interrupted file transfer can often be resumed.
Mac OSX Virtually all computer platforms support FTP protocol, but not
• Fetch all server-hosting companies enable FTP access as part of their
(www.fetchsoftworks video-hosting plans.
.com)
• Transmit
(www.panic.com/
transmit)
• CyberDuck
(www.cyberduck.ch)
Windows
• Cute FTP
(www.globalscape.com)
• FTP Commander
(www.internet-soft.com)
• FileZilla
(filezilla-project.org)

If you plan on having several videos to upload at once, then look

for a host that offers FTP access. This can be a big time-saver, as it
allows you direct access to your files on the server (as opposed to
using a slower web interface). FTP access is less common in host-
ing plans, because it requires hosting companies to open up their
servers directly. Although security protocols are easy to implement,
many service providers don't offer this option. Be sure to check if FTP
access is an option for the hosting companies you are considering.

Upload via the Browser

The alternative to FTP access is using a web browser to load
the files. This style of hosting services generally requires you to
enter the details for the video via a web browser, then click a but-
ton to select a file on your local hard drive in order to transfer the
file.
Although this style of hosting is simple, it doesn't offer the
flexibility of FTP access. We recommend browser-based solu-
tions for clients with low-volume needs (that is to say, only a few
videos to load each week). It is possible to find a host that offers
both browser and FTP solutions, which gives you the flexibility
to choose a solution based on your personal comfort level and
needs.
 Chapter 11  Hosting Web Video    231

Loading video through a web browser is typically not as fast as other methods like FTP.

Use of Private Domain

Many hosting solutions are self-contained, which is to say your
media files and RSS feed must stay on the hosting ­company's
servers. Although this is desirable for media files (after all, you
want the bandwidth and support of the hosting company), it
is less so for RSS files. Many producers (and clients) want the
RSS file to live on their own website. Ask yourself what's more
­desirable, www.yourdomain.com/podcast.xml or yourdomain
.podcasthostingcompany.com.
In general, the best option is to keep the RSS feed on your
own website. This way, browsing customers can choose to
explore the rest of your site after they've looked at your RSS feed.
If having your own private domain is not an option, look for a
host that lets you put together a customized landing page on
your own ­website. The more customized you can make this page,
the better.

Customizable Players
There are two big drawbacks of the YouTube player. The
first is the “related videos” option that is turned on by default.
After viewers watch a video, they are presented with other vid-
eos that YouTube thinks are similar. The other problem is a
giant YouTube logo in the corner, making it clear that YouTube's
branding is more important than yours. Click either of these ele-
ments, and the viewer is whisked away from your website back
to YouTube. Not good for traffic you fought to get in the first
place.
232   Chapter 11  Hosting Web Video

Affordable
Customizable Players
A great option for
those looking for
customizable
players is Vimeo.com. With
the Vimeo+ level account,
you get increased storage
and a completely customi­
zable player. This is one of
the most affordable options.
The same holds true for
blip.tv, which is a very
flexible player. You can
even decide which video
technology to use in your
embeddable player and
customize branding and
web links.

A custom player was built for the Understanding Adobe Photoshop show with a
link right to the book's page on Amazon (affiliate link included).

This is why a customizable player is so important. You'll want

to be able to tweak which controls are visible to the end user.
Are  the sharing functions enabled so they can promote your
video? The size of the window and even the color should
­coordinate with your website. Is there a fallback technology if the
user doesn't have the correct plug-in loaded? Fortunately, video-
hosting ­companies have really caught on and most are making
Disputed Statistics this an easy option.

Many tracking
services “discount” Statistics
their numbers to try For your video traffic to grow, it's important that you both
and filter out “false hits.” target and track niche markets. If you want advertisers, then
You might experience under­
­statistics are essential. If you need to prove the “effectiveness” or
reporting if your episodes
are going into places like
“reach” of your video, you'll also need numbers. In fact, we're big
colleges and universities, proponents of measurement, so you can learn from both your
because these environments successes and failures. Without measurement, your videos are
can be using distributed IP operating in a vacuum.
addresses. Try to focus less You can get accurate statistics about downloads. Through ser-
on the hard numbers and vices like Podtrac and Feedburner, you can get statistics on a per-
more on the trends for your country basis. You can quickly learn where your video is being
show. Look at change over consumed and on what computer platform. Most streaming
time and see what is service sites also offer detailed statistics (though many charge
happening to your videos. extra).
 Chapter 11  Hosting Web Video    233

A spike in viewership should be analyzed. This often leads to practical techniques or strategies for increasing
viewership.

You'll want to keep an eye on when and how a show is

consumed. You should also track the popularity of different
video topics. In this way, you can learn from your strengths
and your weaknesses and evaluate how individual episodes
are doing.

Advertising Model
Many video-hosting services defer their costs through the
use of ads. The less you pay for video hosting, the more likely
there will be ads in your videos or on the web page. There are
other ­services that attempt to sell ads for you and then keep a
­percentage of those sales.
Regardless of the host's policy toward ads, you will need to
determine your show's own rules. Some videos need to run
advertising-free because the client or sponsor wants the show to
appear unbiased. Other shows are simply looking to cover their
costs. Be sure to investigate your options when considering the
financial prospects of your video.
234   Chapter 11  Hosting Web Video

Members using the free version of Vimeo see ads on their pages when browsing.
Those using the paid service (Vimeo+) do not see ads.

Terms of Service
Be careful and always monitor the terms of service with your
video hosting solution. Many of the “free” sites reserve the rights
to license your video for profit (their profit, not yours). Most sites
also require you to leave some of their branding or links intact.
This can create issues for those distributing video on behalf of
their clients or company. Hosting companies also take steps to
protect themselves in regards to videos marked private, stating
that although they intend to keep them private, they can't be
held accountable for unauthorized views. Be sure you read what
you are agreeing to, and if you spot any red flags, you may need to
consult a lawyer.
 Chapter 11  Hosting Web Video    235

Selected Hosting Vendors

There are several video-hosting companies in the ­market. Each
offers a unique mix of services, technical options, and ­pricing.
The right host means balancing the factors we've ­discussed in this
chapter with the needs of your show or client. The ­accompanying
table lists a few popular solutions well suited to video hosting and
podcasting. Be sure to look at their ­individual websites, as pricing
and technical details change with time.

© Fotolia
236   Chapter 11  Hosting Web Video

Hosting Service Cost / Month Bandwidth Storage

Apple MobileMe $8.25 200 GB 20 GB
(www.apple.com/mobileme)

AvMyPodcast (www.avmypodcast. $4.95–$24.95 Unlimited 250 MB–2 GB

com)

blip.tv (www.blip.tv) Free–$8 Unlimited Unlimited

CacheFly (www.cachefly.com) $99–$409 256 GB–2048 GB 1 GB –4 GB

GoDaddy Quick Podcast $4.24–$19.99 100 GB –500 GB 1 GB–10 GB

(www.godaddy.com)

Hipcast (www.hipcast.com) $4.95–$49.95 5 GB–Unlimited 5 MB–5 GB

Libsyn (www.libsyn.com) $5–$30 Unlimited 100 MB–800 MB

Libsyn Pro (www.libsynpro.com) Negotiated Unlimited Negotiated

Podbean (www.podbean.com) Free–$39.95 Unlimited 100 MB–4 GB

podblaze (www.podblaze.com) $14–$97 2 GB–20 GB 200 MB–1 GB

Podhoster.com $4.95–$49.95 Unlimited 250 MB–4 GB

(www.podhoster.com)

Podkive (www.genetichosting.com) $10–$375 Unlimited 100 MB–120 GB

PodStrike!™ Podcast Manager Free–$19.95 Unlimited 50 MB–10 GB

(www.podstrike.com)

Vimeo (www.vimeo.com) Free–$9.95 Unlimited Up to 20 GB

month
YouTube (www.YouTube.com) Free Unlimited Unlimited
 Chapter 11  Hosting Web Video    237

RSS Tools Statistics FTP Upload Browser Upload Adver­tising

Yes, with iLife No Yes Yes No

Yes No No Yes Yes

Yes Yes Yes Yes Yes

No Yes Yes Yes Yes

Yes Yes No Yes Yes

Yes No No Yes Yes

Yes Yes Yes Yes Yes

Yes Yes Yes Yes Yes

Yes No No Yes Yes

Yes Yes No Yes Yes

RSS No Yes Yes Yes

Yes Yes Yes Yes Yes

Yes Yes Yes Yes Yes

No Yes No Yes Yes

No Yes No Yes Yes

This page intentionally left blank
Promoting Your Video
12
As the world of web video continues to explode, getting
Special Thanks and
noticed gets harder and harder. In the early days, things were
Good Inspiration
much easier as the competition was poorly funded (and often
produced marginal projects). These days you're likely to find This chapter
yourself up against people with more money, higher produc- contains insight
tion values, and perhaps the backing of major studios or media from four people
corporations. we respect when it comes
to targeting and reaching
How can you possibly compete?
audiences. Special thanks
It's simple (and it's how we continue to succeed). Produce
to the following:
good content that you are truly passionate about. Then be • Jason Van Orden,
sure to make a lot of noise and promote that content. Don't author of Promoting
waste your time trying to reach the masses; rather, target the Your Podcast
groups that need you. There are many ways to raise aware- • Paul Vogelzang,
ness. The ideas contained in this chapter are drawn from our executive producer of
personal experiences as well as those of several respected MommyCast
experts. • Ray Ortega, podcasting
expert and community
leader
Essential Groundwork • Hayden Black of Evil
Global Corp., who
Raising a buzz might be second nature and you've got pro- makes some of the
motional headshots and biographies of all key players in your funniest videos on
project. You've already contacted the media, been tweet- the web
ing about your project, and have published your video to 30
directories.
Wait. You haven't?
It's okay. We realize that promotion is not a normal activ-
ity for most folks. Even if you live and breathe public relations
and advertising, guess what? You probably have far less budget
than you're used to. In this chapter we've got some practical
advice to share no matter what your experience level or budget.
You will frequently hear from guests in this chapter, because
promotion requires many different approaches in order to
succeed.

© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
239
240   Chapter 12  Promoting Your Video

Goodnight Burbank is a highly successful web video series. It offers a complete

media kit that introduces the show and features press coverage it has received.
Visit www.goodnightburbank.com to learn more about the show.

A Reality Check
“The biggest challenge to promoting a show is time. It prob-
ably takes more time to promote a show than it does to write and
shoot it,” said Ray Ortega. “Other challenges that go along with
time are energy and drive.”
Ray Ortega (www.rayortega.com) knows from a great deal
of personal experience. Producing web video is his day job as he
works for a nonprofit trade association creating video content to
educate members and the general public. He also produces a show
about produce (“The Produce Picker Podcast”) and a podcast and
Twitter feed about the art of podcasting (“The Podcasters Studio”).
“Because promotion takes so much of your time, it naturally
requires that you have the energy to put in that time. Drive is as
much of a factor as time and energy because if you do not have a
genuine interest in your show's topic, then it will be hard for you
to go out and spend time at the places where you need to be in
order to get the word out about your show,” said Ortega. “Having
a real interest in your topic will make it much easier for you to
spend time on the web talking to others about your topic and
thus creating interest in your show.”
 Chapter 12  Promoting Your Video    241

Start with a Compelling Title

Your title is most likely the first exposure someone will have
to your web video. There truly is something to the saying “You
only have one chance to make a good first impression.” Your
video series or episode title has only a few seconds to attract
your target audience, grab their attention, and make them
want to watch.
A good title instantly tells people what your show is about.
Avoid “clever” puns that people have to think about. We find
that being short and to the point works best. Many websites
and podcast aggregators have character limits as to how many
letters can be displayed.

Ray Ortega's “Producer Picker Podcast” has a clear name with nice alliteration. This improves the chance of
potential users remembering the show's title.
242   Chapter 12  Promoting Your Video

Capture Content Early

To promote, you need something to show. But how can you
promote something that doesn't exist? That's easy. Show the cre-
ation process. Get your fans onboard early though social media.
Here are a few practical ideas.
• Capture photos on set and release them through Facebook or
Flickr.
• Regularly tweet about your show as it develops.
• Start a Facebook group and invite friends and colleagues.
Post preview clips and photos.
• Launch a blog and post entries about your show as it
unfolds.
• Cut a trailer right away and post to as many places as pos-
sible. You can even submit this trailer to places like iTunes
and the Zune Marketplace to get your RSS feed validated and
approved. Publish a press release and target those who are
most interested in your content.

The Photo Trekker web video series (www.thephototrekker.com) uses its

Facebook page to keep in touch with fans and share details about its upcoming
shows:
 Chapter 12  Promoting Your Video    243

Working with Public Relations Firms

Many web video creators with larger budgets utilize PR firms to raise awareness. With traditional media, PR firms are
often a mainstay because of their extensive connections. In the world of web video though, things are so new that many
PR firms aren't sure how to help.
“One of the greatest challenges in promoting a web video is cutting through the noise created by everyone else
promoting a show,” said Hayden Black. “One of the solutions is hiring a professional PR firm, but then you have to
find money to do that as well as making sure you've actually got a good PR firm.”
It's important when working with an outside group that you are clear about your expectations and your subject
matter. No one knows your show better than you, and you probably have a pretty good idea about your target audience.
Therefore, you must work as partners if you want to succeed.
“With one [web video] series we were producing, we were instructed by [the client's] PR firm not to talk to the
press about the launch of the show until the day the show aired,” said Black.
The staff at the PR firm thought keeping things a secret would help build up buzz. They prevented Black and his
team from releasing a promotional trailer. They also instructed the big-name stars not to talk to the press.
“I'm still not sure why [they wanted to stop] us from creating a buzz for a new show that was airing over the course
of one week,” said Black. “We did what we could with the time we had and actually got a great audience, but it would
have been a much bigger audience had we began promoting it even a week sooner.”
There are a few lessons learned here. First, be sure that the PR firm you work with has real experience with web
video projects. Second, be sure to push for open communication with your target audience. Web video relies on
transparency and “genuine” content. Third, make sure all parties involved in the project discuss their priorities and
approach. Don't make assumptions that everyone shares the same approach.

Alignment with Media Partners

New media cannot ignore traditional media. Similarly, tradi-
tional media is struggling to adapt to and adopt new media tech-
niques. How can the two help each other? The simple answer is to
build a bridge. By aligning your show with traditional media out-
lets, you can increase your reach:
• Write a magazine column or blog post for a large website.
• Serve as a forum moderator for an online message board.
• Pitch journalists on your topic or expertise.
It's important to realize that many people still turn to tradi-
tional media. You can't ignore the reach of television, magazines,
and the general web. Web video producers who partner can get
a lot further than those who attempt to do everything on their
own.
244   Chapter 12  Promoting Your Video

The proper use of tags can make your video easier to find when searching.

Keyword/Tag Development
Videos are often searched for by topic rather than name.
The  use of keywords and tags influences how results are gener-
ated. When you upload a video to a sharing site, you usually have
a tag field. The same holds true when generating an RSS feed; you
can often insert keywords into your show's description.
Typically, sites limit you to 20 tags. Just because you have this
many doesn't mean you should use them all. If a video has too
many tags, it can lose relevance in a search and appear lower
in the results. Only tag a video with the most essential tags that
accurately describe its content. Keep in mid that tags take a while
to work their way through a search system. So it may take a few
hours (or even days) before a search bears results.

Search Engine Optimization

There are many things you can do to make your web video
more search-engine friendly. The goal is to make your video's site
appear as relevant and authoritative as possible. The good news is
that search engines like sites that are frequently updated (which
your blog should be).
Unfortunately, the major search engines do not watch and index
your video content. This makes the text content extremely impor-
tant. Be sure to include textual show notes for each episode—
Publish a Blog detailed descriptions and content outlines that let readers and the
You should use a search engines know what each episode is about. For even ­better
blog platform to ranking, consider posting transcripts of your show to provide
publish a podcast ­additional text content that search engines can index.
and host web videos. The more other websites link to your content, the more
It provides a great home authority you have on the Internet. More authority leads to a
base for your video series higher search ranking, which in turn leads to more traffic and
where viewers can find more inbound links. The simple truth is that most people don't
archived shows and make it beyond the first few hits on a web search.
comment on each episode. The best way to encourage links to your site is to regularly
Blogs are very search-
publish quality content. Find directories that allow you to sub-
engine friendly.
mit your web address. Develop relationships with bloggers and
 Chapter 12  Promoting Your Video    245

podcasters who publish related content and might want to link

back to you. Include links to your site when you participate in
blog commenting and forum posting. You'll want to build several
paths to your website (just be sure you return the favor to those
who help you).

Hyper-Syndication Strategies
A guiding tenet of our publishing beliefs is that of hyper-
syndication. Another way of saying this is “create once, pub-
lish many.” In this section, you'll learn practical techniques to
publish your podcast or web video to as many screens as pos-
sible. This lets you take advantage of the many different viewing
options on the market and grow your audience.

Hyper-Syndication Tools
Getting your content on a ton of sites takes a lot of effort. After
all, imagine the time involved with uploading to 30 different web-
sites and re-entering the same information each time. To make
things easier, paid services have emerged. Let's take a look at two
of the most robust, TubeMogul and blip.tv.
246   Chapter 12  Promoting Your Video

TubeMogul
The OneLoad service from TubeMogul (www.TubeMogul.com)
offers both a robust free version (which allows for 100 videos per
month) and a scaled paid service with advanced features for large
publishers (priced at $50 per month and up). The principal ben-
efit here is that it offers a single point for deploying videos to the
top video and social networking sites.

You first set up accounts at any of the 30 sites supported by

TubeMogul. You then upload a video to TubeMogul's site and
it is sent on to the other sites. This means you need to spend
a little time setting things up, but once you've published more
than two videos, this method is substantially faster. The site
also offers detailed analytics (for supported sites) that can show
real-time viewership, geographic tracking, stream quality, and
more.

blip.tv
One of our favorite services has to be blip.tv. This robust site
lets you publish your video to many outlets (including nontra-
ditional ones like TiVo and Internet-connected TVs). In fact the
company claims that its network “reaches more than 80% of
Americans on the Internet and a growing number of television
households.”
 Chapter 12  Promoting Your Video    247

FeedBurner
Although we've
mentioned it
before, be sure to
check out FeedBurner from
Google (www.feedburner
.com). If your video files
are listed in a valid RSS
file, FeedBurner makes it
easy to republish that feed
to many destinations.

TiVo is one of the many distribution channels that blip.tv can unlock.

We really like how flexible blip.tv is, in that you can choose
your distribution format. You have options to use Flash, MPEG-4,
QuickTime, and more. Its player is also highly customizable and
can be fully branded to your site or brand.
The service has both a free version and a paid version at $8
per month. The paid version offers priority encoding so your
files are available in multiple formats. This is a great feature as
it lets others resyndicate your content using a player of their
choice. The control panel for the site is robust and gives you
complete control over targeting specific networks and social
media sites.

Video Hosting Sites

There are a myriad of websites to choose from for hosting con-
tent. Some sites are general interest and serve as large portals or
search engines (think YouTube), whereas others are meant to be
for specific genres or audiences (Howcast, for example, only fea-
tures tutorial videos).
248   Chapter 12  Promoting Your Video

Here are a few sites to keep in mind for your network:

• 5min (www.5min.com)—Tutorial videos shorter than five
minutes in duration.
• Bing (www.bing.com)—Microsoft's new search engine has a
video directory.
• Brightcove (www.brightcove.com)—A paid service that lets
you target many outlets including mobile phones.
• Cardomain (www.cardomain.com)—A site for automobile
enthusiasts.
• Dailymotion (www.dailymotion.com)—A broad interest site
that also has distribution to many mobile devices.
• Graspr (www.graspr.com)—A site that features educational
videos only.
• GrindTV (www.grindtv.com)—A site for extreme sports
videos.
• Howcast (www.howcast.com)—The site specializes in educa-
tional videos and offers applications for both the Android and
Apple iOS platforms.
• iFood.TV (www.ifood.tv)—A site all about food.
• mDialog (www.mdialog.com)—A paid service that offers a
flexible SDK for integrating video into iOS applications and
dynamic ad insertion.
• Metacafe (www.metacafe)—Another large portal site for gen-
eral interest.
• Sclipo (www.sclipo.com)—A paid site that offers e-learning
systems.
• Sportpost (www.sportpost.com)—A site for sports content.
• Streetfire (www.streetfire.com)—A site for automobile
enthusiasts.
• StupidVideos (www.stupidvideos.com)—A site for humorous
videos.
• Viddler (www.Viddler.com)—A free service for video
distribution.
• videojug (www.videojug.com)—The site only offers “factual”
content rather than entertainment.
• Yahoo! Video (video.yahoo.com)—A general interest search
directory by the search engine company.
• Zoopy (www.zoopy.com)—A site that offers video, audio, and
photo sharing on one site.
 Chapter 12  Promoting Your Video    249

iTunes Searching: How Will You Be Discovered?

There are three ways a potential subscriber can find you in the iTunes Store. Understanding the three methods is
important if you want to improve your chances of being found.

1. Search. The iTunes Store contains a search field. Results are returned based on popularity and relevance. Popularity
relates to the number of new subscribers you've had in a given period (which is an uncontrollable factor). Relevance
is due largely to your show's description and keywords (which you have complete control over). Be sure to write
an accurate description that addresses your show's topic. You can also use keywords to address misspellings or
additional search criteria.
2. Featured content. The iTunes Store routinely features content. There are several factors that contribute to a show
being featured. First and foremost, the quality of content is considered. Second, your show must have attractive
artwork (which does not include Apple items like logos or iPods). The staff at the iTunes Store also favor shows with
consistent content that is released regularly (e.g., weekly or daily). It should also go without saying that your feed
needs to be valid, so periodically check it at www.feedvalidator.org.
3. Top lists. On each page of the iTunes Store there is a “Top List.” These lists showcase the top shows in each
category. These lists are based on new subscriptions. We often recommend launching a show with four episodes
(simply predate the first three to offset their “release”). This way a new show offers visitors multiple options. This
initial surge can help you make a splash. Once you are on a Top List, it is essential you maintain your release schedule
and quality. Staying on a Top List is very helpful, as it makes it much easier for visitors to discover your show.
250   Chapter 12  Promoting Your Video

Ping-O-Matic can automate the process of notifying websites about your new
podcast.

Notifying Directories Automatically for RSS Feeds

Each time you post a new episode of your show to an RSS
feed, you want several directories to immediately crawl, index,
and list the new content. The easiest way to make sure this hap-
pens is to send an instant notification, called a “ping.” If you use
a blog to publish your show, the blog software can be config-
ured to do this for you automatically, each time you post a new
episode.
Another option is to visit www.pingomatic.com each time you
post new content. Submit your feed, and Pingomatic will auto-
matically notify the most important directories. If you don't man-
ually ping the directories, it can take a few days for new content
to appear.
 Chapter 12  Promoting Your Video    251

Social Media Tools

These days you'll hear a lot of the miracles of social media.
Our take is that this is simply a new name for a practice that's
existed since the start of the Internet. We remember being in col-
lege and belonging to online bulletin boards and groups about
some of our favorite hobbies and interests. We shared photos and
video; we interacted with others (and this was the early 1990s).
Of course, social media is now all the rage. Multiple genera-
tions from grandkids to grandparents share videos, pictures,
and text updates regularly. If you make a concentrated effort to
engage folks this way, you can see real results.
“We reach out to our fans and speak to them so they can
feel more connected. That's something that you simply can't
do with TV. TV has more of an ‘us versus them’ vibe, with ‘them’
being the audience. There's an aloofness there,” said Black.
“But with the Net you can Twitter or email the casts and crew so

Hayden Black uses his Facebook page to stay in touch with fans. Witty updates keep his audience engaged and
often generate comments.
252   Chapter 12  Promoting Your Video

there's more of a duty to connect with people who are reaching

out to you to tell you they're a fan. Once you do that, fans are far
more willing to help out because they feel engaged and part of
the process.”
But be careful of social media overload. Although repetition
is okay, it needs to be done creatively. Don't just blast the same
message to Twitter, Facebook, your email list, and press releases.
You'll need to get creative and stagger your messages.
“When you're on a grassroots budget [social media] is about
100% of the way you can promote. But you have to tread a fine
line and not piss people off by targeting them over and over on
different platforms,” said Black. “Nothing turns me off of want-
ing to watch something when the producer has contacted me five
different ways.”

Enabling Share Technologies

The viral nature of social networks has created a market-

ing nirvana. People can instantly share content with their entire
Metadata Is Essential social circle. By making it easy for your audience to share your
Your show needs
content on popular social networks, you will increase the reach
good metadata so of your show. Popular social networks include Digg.com, Del
people can find .icio.us, Facebook.com, and StumbleUpon.com. These sites pro-
your podcast. This vide bookmark widgets that you can include on your site so visi-
includes all of the tors can share your content with one click. It is a good idea to add
information that describes these to your show's blog.
your podcast to the
potential subscriber, as
well as to podcast Twitter Essentials
directories.
Besides your show's
Twitter is a short messaging service that lets interested people
title, author, and follow the activities of others—no, not in a stalking sort of way;
description, you can only the information that one group decides to share with others.
use up to 12 keywords What makes this so effective is that you can post quick updates
to determine relevance. about your web video.
A high percentage of Many mobile phone applications support Twitter. This means
potential subscribers you can quickly post photos, video, or text updates right from
look for podcasts using the set or location shoot. As comments come in, you can interact
searchable directories. with others in a meaningful (albeit short) exchange. Twitter takes
If you don't have useful, a little getting used to (we recommend lurking for a few weeks to
robust metadata, your
get the hang of it). Watch how others you admire or respect use
podcast will not turn up.
the tool to get ideas.
 Chapter 12  Promoting Your Video    253

Justin Seeley is an active web video producer who keeps his audience up to date through Twitter (http://twitter.com/
JustinSeeley).

What we've found is that it's the best way to connect with our
most interested fans. These fans are also the most likely to post or Schedule Tweets
share information about our videos and products. One service we
Ray Ortega also uses Twitter as an inspirational tool to dis- use is
cover topics for new shows he produces. He also builds a loyal SocialOomph.com.
following of viewers. This lets you schedule
“Twitter allows me to monitor search terms related to my tweets to come out over
show, such as ‘fruit,’ ‘vegetable,’ ‘ripe,’ et cetera,” said Ortega. time. It lets you set up a
“When I notice people talking about or asking questions, I can message and have it
respond quickly and with very little effort I have gained a poten- trickle out or even repeat.
The site offers both free
tial new viewer and almost certainly made a connection with
and paid services.
someone who shares my passion.”
254   Chapter 12  Promoting Your Video

“Conversations in Public Relations” is a web video series focusing on luminaries in PR. The show uses its Facebook
page to publish its video.

Facebook Essentials
Facebook has grown incredibly since its launch (with many
calling it Internet crack). With currently more than 500 million
active users, Facebook truly is the Internet's gathering place, with
more than 30 billion content posts per month. Plus, other web-
sites tie into Facebook to allow for sharing of content back and
forth (more than 1 million current connections).
What does this mean to you? Well, you better set up a Facebook
Make a Widget page for your web video series, production company, or host. This
Want to make a page should ideally be a Facebook page (and not a personal pro-
Facebook file). You can set up a page by visiting www.facebook.com/pages/
application or create.php. These pages are much more flexible and allow you to
easy widget to share your share and interact more easily with fans of your show.
content? Widgetbox.com While you are on Facebook, be sure to look for groups that
lets you create easy-to- match your show's topic. Becoming an active member of several
share widgets for groups lets you gain exposure to potential viewers and will serve
distributing videos on as a source of inspiration for new content. For more on creating
websites with easy sharing
and joining groups, see Facebook's online help (www.facebook
technology.
.com/help).
 Chapter 12  Promoting Your Video    255

Live Engagement UStream

Some video creators stream their shows’ creation live.
If you'd like to
This  works particularly well for shows that do not rely on much stream your video
editing (such as talk shows). This method lets the most interested program live for
fans tune in from the start and even shape the content of the video. free, check out www
“Sometimes when the show is recorded, I also live stream the .ustream.tv. This site is
process so that others can join in and get a behind-the-scenes easy to use and offers
view of what it takes to produce an episode,” said Ortega. “This easy tools for creating a
also allows me to gain feedback instantly. I can ask the audience stream on a laptop or
their opinion on what I'm about to film and make changes to the desktop computer.
production in real time. Including your audience in the process
of production gives them a feeling of ownership, and they are
certain to become the core group of people who will rally others
around your content.”

Additional Promotional Strategies A Great Book on

While we're talking about promotion, there are several other Podcast Promotion
methods that bear mention. The techniques covered in this chap- Promoting your
ter won't work in every case. Be sure to explore and experiment to podcast is
determine the best “media mix.” Here are a few other techniques essential to its
that have worked for us and our colleagues. long-term
success. Although
we've explored several
Cross-Promote with Other Internet Shows ideas in this chapter,
An effective way to find potential listeners is to target the audi- we highly recommend
Promoting Your Podcast
ences of shows that are similar to your own. Most podcasters and
by Jason Van Orden.
video creators don't believe in the “pie theory,” which says there's an
You can find out more
infinite number of listeners that can only be divided so many ways. on the book at www
“I often tell people not to reinvent the wheel when it comes to .promotingyourpodcast.
promotion. Go to where your audience already is. You don't have com.
to spend all of your time searching the web and forums to reach
one person at a time. Find out where people are gathering around
content in your niche,” said Ortega.
We have found that many are willing to share their audiences
through cross-promotion strategies. We regularly interact with
other video producers and even contribute to their shows.
“In the beginning most people will view this as competition.
You should view this as opportunity, an opportunity to instantly
expose hundreds or thousands of people to your show,” said
Ortega. “In most cases you have an individual take on the same
topic and there is certainly room for people with like content to
share an audience.”
Podcasters enjoy using content from outside sources to make
their shows more interesting. Find shows that relate to your topic,
then contribute content that adds value to those shows and that
256   Chapter 12  Promoting Your Video

promotes your show at the same time. Here are some suggestions
from Jason Van Orden:
• Offer to be a guest on other podcaster's shows, and then
return the favor by inviting them on your show.
• Produce guest segments or serve as a field producer for
another podcast.
• Add questions or comment to other show's blogs. Be sure your
show is mentioned in your signature line.
• Consider exchanging show promotional announcements with
other podcasters.

Advertise and Promote

This may sound obvious, but you need to promote your show.
This includes running ads in traditional venues like magazines or
websites. One technique we employ is creating a business card
for each of our podcast series. In this way, when we talk up the
show with people we meet, they can easily remember the show
name and blog when they get to their computer. You don't need
to spend a fortune on advertising—many podcasters trade ads
with one another, placing ads in their shows for certain products
or events, then asking for links or ads in exchange.

Aggregate Your Content

If you produce multiple podcasts that could appeal to the
same audience, then be sure you aggregate and cross-promote.
For ­example, you can list other shows on your blog page. We often
add blog posts about other shows to promote crossover content
that should appeal to the audience.
You can also create an artist page on iTunes. This is a single
page that lists all your shows in one place. Simply click on the
Report a Concern button, and select Remove a Podcast. In the
 Chapter 12  Promoting Your Video    257

Pulling multiple series together

on iTunes is a good way to
expose fans to other shows
you produce.

­ ialog box, explain that you would like an artist page, give the
d
exact name of the artist (don't include “Inc.,” “LLC,” etc.), and list
the exact feed URLs or links to your podcasts. Note that a podcast
can only appear on one artist page.
When using services like YouTube, you can keep videos gro­
uped together under one account. Since accounts are free, we
recommend that you set up a page for your production company
or even just your show. This will put all of the videos onto a single
page and make it much easier for people to discover your content.
Feedback from viewers is
very important. Encourage
Word-of-Mouth Marketing fans and colleagues to post
The use of word-of-mouth marketing relies on communica- reviews as they often influence
tion between two people. The term has grown to include social potential viewers and drive up
media but still refers to an influencer talking (or posting) about a a video's ranking.
258   Chapter 12  Promoting Your Video

product or service to the person's peers. This type of communica-

Word of Mouth tion is often seen as being credible, because the recommendation
Marketing
comes from a known source and not a commercial source.
Word-of-mouth “Word of mouth is probably your best marketing strategy.
marketing is so Getting the viewers you already have involved in the process of
popular that promoting your show is an easy way to grow your audience,” said
there's an actual Ortega. “I ask people to become a friend of the show on Facebook,
professional group, Word Twitter, or any number of social networking sites. This allows me
of Mouth Marketing
to know who is watching and to connect with them beyond the
Association (www
.womma.org/main). simple act of them watching my content.”
Its website offers several Once fans connect, it's much easier to build a web of influ-
free resources worth ence. As you release news or content, they will be automatically
exploring. notified. They can also talk about you to others in their network
and easily share content. The key, though, is to not just “talk at”
your audience but rather to “talk with.”
“When you listen to your audience and have real interactions
with them, you build a relationship with your content and brand
that is oftentimes much stronger than their experience with tra-
ditional media,” said Ortega. “These people in turn write about
you on their blogs, send out tweets about each episode you pro-
duce, or pass the word through their own social network, expos-
ing many others with like interests to your content.”

Getting Press Coverage

Getting traditional media coverage is not as hard as you think. We've found a few practical approaches that increase the
likelihood of good press. Here are three of our favorite techniques:
• Be sure to have photos easily accessible. The press loves pictures, so not having photos is often a deal-breaker.
Post stills to your website that show both the finished product and behind the scenes.
• Don't be shy, but at the same time don't annoy. Journalists often are spread thin these days with budget cuts. By
following up and being responsive, you'll be seen as a good source.
• Lastly, be sure to pitch your content in relationship to a bigger angle. For example, perhaps your show is
about saving energy and a better environment. Pitch journalists on Earth Day or when green energy initiatives are up
for a vote. Tie yourself to your content and pitch when relevant.
Once you've built a relationship with a member of the press, be sure to maintain it. Remember that most journalists
have a job to do, and that is to find and report on stories that are of interest to their readers. If you are easy to access
and genuinely open, they'll likely revisit you.
Hayden Black has firsthand experience in keeping a healthy relationship with press.
“I have been very lucky in that 99.9% of the press I've gotten has been generated by the press itself,” said Black.
“I've built on the relationships I've made with journalists after articles have been written.”
Many journalists (as well as fans) follow Black on Twitter or Facebook. Because comedy is his business, his feeds
don't disappoint.
“I use Twitter too [@HaydenBlack and @GoodniteBurbank], but as an outlet primarily for jokes. Every so often I throw
in a bit of marketing so people don't get burned out with it.”
 Chapter 12  Promoting Your Video    259

Build a Relationship with Your Audience

Although attracting new subscribers is important, long-term suc-
cess comes from maintaining the subscribers you already have. To
do this, you must build a meaningful relationship with your audi-
ence. Here are a few ways to connect and build on that connection.

© iStockphoto.

Stay Focused
What is your show all about? Perhaps you should write it down
“for the record.” Many web video creators struggle to come up
with new show topics. As such, their shows drift away from the
intended topic (and subsequently lose both their focus and their
viewers). One recommended technique is mind-mapping, which
involves visually organizing information. You can essentially start
with a few core topics and keep breaking them down into related
ideas to come up with new show topics. You can find out more on
mind-mapping at www.en.wikipedia.org/wiki/Mind_map.

Remember Who Watches

Do you know who watches your videos? Be sure you have
a target audience in mind when you develop show ideas. One
thing we find useful is to look at our podcast page in iTunes. Here
we can see a section called “Listeners Also Subscribed To.” You
can follow the links listed there and discover what other shows
your listeners are consuming. You'll also see similar features on
most video-sharing sites when other recommended content is
­presented. This can help you develop an overview of what your
audience is interested in.
260   Chapter 12  Promoting Your Video

Interact with Your Audience

You want to provide your audience a way to speak back to you.
This can mean an email address or voicemail line. Another way
is to allow commenting on your blog or allow forums. When your
audience members speak up, answer them. Include their com-
ments in the show. Thank them for participating. Respond to
what they say.
You should also include surveys on your website or blog. We fre-
quently use the survey tools from MajikWidget (www.majikwidget
.com). Others employ the more detailed Survey Monkey (www.
surveymonkey.com). Whatever technology you use, people like
having a chance to voice their opinion.
Another option is to be sure to visit places where people visit
who'd be interested in your content. This means hanging out in
forums or social networking groups. Remember though, it's not
enough to just find the people who would be most interested
in your content and posting a link. Ray Ortega insists that you
need to actually engage with people in a genuine fashion such as
answering their questions or commenting on their content.
“It's important to be cautious about simply going to another
site and posting a link to your show. This is quickly written off as
spam and rightly so. If you are there for the purpose of only pro-
moting your show, you are going to lose. You are more likely to do
more damage to your show's name/brand than you are to pro-
The use of surveys on a blog mote it,” said Ortega. “If you get pegged as a spammer, then your
or website is a great way to brand is tainted. If on the other hand you enjoy the conversations
involve your audience. with people who share your own (and your
show's) interest, then you are likely to do your-
self a huge favor by reaching the people you
are shooting your show for in the first place.”
At Evil Global Corp., Hayden Black has
gone as far as actually integrating fans into
the show. He knows that people who like his
style of comedy should like his new video
series as well. He goes out of his way to inter-
act with fans through social media.
“We were one of the first web shows to
use Twitter within a scripted show. In The
Occulterers, we created a mock ‘live feed’ from
the castle that the bungling ghost hunters
were spending each night in and then invited
fans to tweet what they saw to the ghost
hunters,” said Black. “We got inundated with
people telling us what they saw or what they
heard, and we used their Twitter names in the
show to report what was being seen.”
 Chapter 12  Promoting Your Video    261

Watch Other Shows in Your Space

Do you know what your video's
competition is? It's important to
periodically check out what other
shows are doing. You can learn a lot
by analyzing shows and videos that
are ranked both above and below
yours. You'll want to look at them
for ideas on content and approach.
In some ways you can counter­
program. For example, if your
compe­tition is fairly dry, you can
integrate light humor. If other
shows are very long, try taking the
abbreviated approach. What you
should do is analyze the market,
looking for both ways to make your
show stand out and best practices.

Build Your Brand and Host Recognition

We have found that establishing credibility and building a
brand have been helpful in the long run. Podcast hosts should
look to improve their “terrestrial” credibility by speaking at con-
ferences as well as offering interviews to traditional media.

The “Produce Picker Podcast” saw significant growth once it loosened up its format and let humor into the show.
262   Chapter 12  Promoting Your Video

We also find that showing the host on camera works well.

Be sure to give some face time to your host, rather than just
focusing on the subject of an interview or source of a technical
demonstration.
“In the beginning the show was pretty raw, just a video of my
hands showing people how to select and prepare fresh fruits and
vegetables. The next step was getting myself in front of the cam-
era, and once I did that I realized the show could use a touch of
humor,” said Ortega.
Ortega pointed out that many web video producers feel
trapped by “traditions” or “rules” of broadcast television. Web
video is a much more open medium, however.
“[Originally] the show was basically a green grocer format, some-
thing you'd see on any local newscast or public access ­channel.
But I quickly realized that this was not traditional TV and in fact it
was the web, where you can do virtually anything you want,” said
Ortega. “I decided it was time to add some fun into the show. Thus
began a tradition that usually involves me getting pelted with what-
ever fruit or vegetable happens to be featured on a given episode.
So in that way, having food thrown, dropped, or just generally mak-
ing a mess was an unusual approach to the kind of content I'm pro-
ducing. People have definitely commented on the humor element
to the show, and it sticks out as something they like seeing.”

Make It Easy to Subscribe

It is important that you make
subscriptions easy. This means
you need to recognize that your
audience may have different desires
regarding technology than you.
Make sure that you offer both RSS
subscriptions and one-click sub-
scribe buttons for several popular
formats. Usually your host com-
pany can help with this; if not,
you should harness the power of
FeedBurner (www.feedburner.com).
You'll also want to take advantage of any tools offered by
video-sharing sites. These include share buttons to popular social
media sites and channel subscriptions.
One overlooked technology is email. A surprising number of
folks still want to be emailed when new episodes come out. We
usually turn to FeedBurner for this, but other sites also offer the
option for users to be emailed.
Monetizing Your Video
13
With Paul Vogelzang, Executive Producer of MommyCast

Making web video costs money and takes time (and time is
directly related to money). As such, you’ll need to discover ways
to monetize your content. For some, this is easy. Web video can
save organizations money when it comes to travel, training semi-
nars, or shipping to customers.
For others, it’s not merely enough to spend less money; they
need an actual influx of capital. Perhaps the goal is to make
enough for the video to fund itself. Maybe it’s to generate an extra
source of income. Either way, you won’t get there overnight.
What we offer here are some starting points. These are proven
ways you can monetize your web video content. You’ll need to
experiment to find which approaches will work for your content.

We’ve learned to be direct with our efforts to monetize web video. In this case,
we used a short four-second preroll ad that is also used as a longer postroll. We
also put a direct link to a for-sale training product below the video. Social media
options also led to comments and tweets about the training.
© 2011 Richard Harrington and Mark Weiser. Published by Elsevier, Inc. All rights reserved.
263
264   Chapter 13  Monetizing Your Video

More on Making Potential Revenue Sources

Money from Podcasting
There are many different ways to make a living; the same holds
and Web Video
true when it comes to making money from web videos. Essentially
There are a few you can make money by support of your audience making pur-
sources we chases or from those who want to reach the audience we’ve built.
respect for ideas Many video producers try to employ a mixture of techniques as
on making money from they find a combination that works for their topic and audience.
web video:
Remember, there are two ways to make money, directly or
• Online Media Success
indirectly:
Podcast (www
.onlinemediasuccess.com) • Direct. This is the closest model to traditional entertainment
• Podcasting for Profit and news. In this case, you are trying to turn your viewer-
(www.leesabarnesbooktour ship into money. This can be for advertisements you sell, paid
.com) downloads by your audience, or sponsorships you accept.
• Internet Business • Indirect. This approach can be quite successful in that it lets
Mastery (www you leverage your experience as a marketable skill. In other
.internetbusinessmastery words, you take your experience in producing content for the
.com) web and make it a hirable skill. This also works by trying to
• The Business of convert viewers into clients for other services that you sell.
Podcasting and
New Media
(www.paulcolligan.com) Affiliate Revenue
• Podcast Academy: One of the easiest financial models to participate in is affiliate
The Business programs. In this case, you can choose to promote or mention
Podcasting
particular products (such as technology, books, film, or music).
Book: Launching,
In theory, your audience may want to purchase these items after
Marketing, and
Measuring Your
Podcast by Michael
Geoghegan, Greg
Cangialosi, Ryan Irelan,
and Tim Bourquin
 Chapter 13  Monetizing Your Video    265

seeing you use them (or hearing your opinions). Some take a
direct approach and link right to products and services, while
others have a support or site button.
The number one online retailer who has a great deal of prod-
ucts to sell is Amazon.com. If your video has a blog or website,
you can provide a list of the featured products. For example, if
your podcast talks about a piece of software or a book, and you
link to Amazon to buy it, you can get paid. Simply sign up for an
Amazon Associates account (affiliate-program.amazon.com).
Amazon pays you up to 15% commission on everything you sell
as a click-through on your website. Additionally, if someone who
clicks through does any other shopping there, you get a percent-
age of that purchase as well. This is an easy way to bring in reve-
nue that can offset or even cover costs associated with a podcast.
In a move similar to the Amazon Associate model, Apple offers
the iTunes Affiliate program. This program lets you create links to
a podcast or for-sale item to take visitors to the iTunes Store. You
then earn a 5% commission on sales of songs, movies, TV shows,
apps, and audiobooks purchased by customers who linked to the
iTunes Store from your website. Anything they purchase during
the next 24 hours will be credited to your affiliate account. The
iTunes Affiliate program is only available in selected countries
(www.apple.com/itunes/affiliates).

Advertising
If you have a large viewership, then you can explore ad spon-
sorship services. There are several in this space, such as YouTube,
Podtrac, blip.tv, and Limelight Networks. The rates earned will
vary based on your show’s subject matter and audience size. Most
of these services will sell ads for you and then keep a percentage
of the sales.

Many video-sharing sites offer

opt-in advertising programs so
you can monetize your content.
266   Chapter 13  Monetizing Your Video

You can sell your own ads, which is more work but you keep
more money. If you want to  seek a sponsor, you’ll need to put
together a  media kit that showcases the strength of  your pod-
cast and accurately describes its  audience (both in size and in
­demographics). We’ll explore this method more in a moment.
None of the podcast directories have an issue with shows that
contain ads. On the other hand, many video-sharing sites want
to insert their own ads into your program. As a general rule, free
hosting means no ads, while paid hosting means it’s up to you.
We do recommend keeping ads short and to the point. The most
effective ads are those that match products or services closely to
a video’s target audience.
Many video producers choose to place ads on their web-
sites. For some, this takes the form of banner ads from show
sponsors. Others take the easier approach of allowing Google
AdSense ads into their blogs. These are generally text-only links
and can be placed in the sidebar area of a website. An easy
way to add these to your blog is by using FeedBurner (www
You can insert AdSense ads .­feedburner.com).
into a blog. Other services like
YouTube also offer advertising
revenue sharing for top
performers.

Related Products and Services

For many video creators, there is a reason they publish.
Although there is, of course, the desire to create and share, you’ll
usually find some easy-to-spot motives just below the surface.
For example, RHED Pixel has produced ­several podcasts and
web videos through the years. Some of the benefits we’ve seen
(besides ad dollars) include the following:
• Increased opportunities to bid on video production jobs
• Consulting and speaking opportunities
• Increased sales of our books and for-sale training products
• Increased loyalty from existing customers
• Substantial media coverage
All of these factors should be great motivation if you have
something to sell. Whether it’s products or services, web
video can truly raise your profile. It’s also an excellent way
to engage existing and potential customers in meaningful
dialogue.
 Chapter 13  Monetizing Your Video    267

By creating a landing page

for all of our podcasts and
web video programs, we
Working with Sponsors and Advertisers can raise awareness for
other services and projects.
Making video for the web takes time and money. Ultimately,
someone needs to pay those costs. Some create web videos as
promotional materials to raise awareness for their causes or
efforts. Others take a more direct approach and try to involve
sponsors or advertisers in their web videos.
Lining up sponsors or advertisers for your web video can be
challenging. Think of it this way: if getting sponsors were easy, every
person who wanted to get his or her show on television would be
successful. This method is not for everyone, but it can work quite
well for certain video producers.

Monetization
Some video creators see monetization as a bad word. They fear
giving over control of their show and simply becoming a mouth-
piece. These concerns are valid, as many podcasters and video
­creators we know have felt pressure to give favorable reviews.
When done correctly, ­however, monetization can allow you to
receive the important funding that you need to cover costs. The
important step is to establish editorial independence from spon-
sors and clearly spell out what sponsors or advertisers will receive
for their money.
268   Chapter 13  Monetizing Your Video

“Partnering with sponsors is vital to the success of our show,

and expenses such as hosting, bandwidth, editing, ­equipment,
and marketing are not inexpensive,” said Paul Vogelzang ­(executive
producer of MommyCast).
“Our method of sponsor inclusion is to offer ‘host informa-
tion and recommendation,’ as well as logo placement on our
sites. We never promise favorable reviews, but honest opinions
from our hosts, thereby ensuring the passion that our audience
demands.”

Sponsorship versus Advertising Models

Understanding the difference between advertising and
sponsorship is important. Under the advertising model, com-
mercials are inserted into the web video. This can take the form
of pre- or postroll advertisements (much like you’d see in a
television broadcast). Many web video players also support the
use of embedded or overlaid advertising. These ads can provide
hyperlinks that encourage a viewer to click a text or graphic
link to visit another website (hence leaving your show in the
middle).
Sponsorship, on the other hand, takes the form of financial
support given toward a program that is identified and perhaps

MommyCast successfully uses

the sponsorship model for its
video content and integrates
display ads on its website.
 Chapter 13  Monetizing Your Video    269

integrated into the show. This form tends to be a little subtler to

the viewer, as it often takes an integrated approach. It can impact
the choice of guests, it can take the form of relevant information
covered, or it can even affect a video’s topic.
On the other hand, sponsorship can also take a fairly hands-
off approach. In this case, the “Public Broadcasting” model is
often followed, where sponsors are recognized and thanked but
have little input on the show or its content. This is the model that
is employed by several top podcasters.
“Sponsorship, as opposed to advertising, will let us pay us, and
all other expenses, keeping the show moving forward but allow-
ing for the independence we insist on to remain relevant to our
audience,” said Vogelzang.
This editorial separation is important, as it preserves a genu-
ineness that is essential for web video.

Your Case for Sponsors

Lining up a sponsor takes far more than just a great idea.

Most shows never get sponsors (at least in the traditional adver-
tiser sense). Even successful shows need to be able to explain
their impact in a way that traditional advertisers or sponsors can
understand. We’ve experienced firsthand the frustration of trying
to explain the value of web video to sponsors. Many are simply
more comfortable going with magazine advertisements or the
pay-per-click banner ads that they’re used to buying.
“Sponsors today are becoming more and more interested
in proving the value of advertising. We spend a lot of time with
sponsors who want to know the total number of viewers,” said
Vogelzang. “They also want to know what level of engagement is
there. Is there sharing that goes on… is there any way that you
can quantify your listenership.”
270   Chapter 13  Monetizing Your Video

He added, “We’ve been able to provide value to companies so

that they have proof that they are connecting with people… but
not going over the line and becoming an infomercial.”
Vogelzang has suggested that you offer the following items to
potential sponsors:
• Show description. Offer a clear description of what your video
or series covers. Describe the type of content you ­produce
and who you are trying to reach. This description needs to
be unique and clear. For example, here is the description
MommyCast uses:
We are MommyCast! We are moms immersed in the fullness
of life. We are experienced, confident, and interesting… and
made so by our families, and the chance to reach out to busy
moms everywhere. Millions of women and moms are entering
a new age of boundless communications ­possibilities, and one
show is their voice. MommyCast!
• Viewer statistics. You’re going to need to provide accurate
numbers about your total number of downloads and stream-
ing views. As we discussed in the previous chapter, some
of the hyper-syndication services can help aggregate your
numbers across multiple video-sharing sites. Many hosting
companies can also provide detailed and verified viewing sta-
tistics. Keeping track of these numbers can be challenging, so
we recommend trying to use some of the aggregator services
that will gather statistics.
• Website statistics. Many sponsors only understand web-
site views. As such, you’ll want to track the stickiness of your
website. We highly recommend using a blog engine to power
your website. The use of RSS feeds can increase the total
readership for entries and embedded videos. You can also use
social media outlets to help with syndication and sharing of
content.
• Audience surveys. Because web video and podcasting is so
new, we often recommend selling the quality of the audience
rather than the quantity. If you sell high-end bags for digital
cameras, what’s more effective? Advertising in a mass-market
magazine that has 500,000 subscribers or sponsoring a video
about lighting for digital photography that reaches 5,000 pro-
fessional photographers? In order to make the distinction, you
need to know who’s watching.
To attract and satisfy top advertisers like Microsoft, Proctor
& Gamble, and State Farm Insurance, MommyCast surveys its
audience three to four times per year. For example, those who
manage the site can tell you that 54% of the audience has a
four-year degree and 29% an advanced degree. MommyCast
has also found that the average show is forwarded 34 times to
friends and family.
 Chapter 13  Monetizing Your Video    271

“We send out surveys to our audience. We ask them ques-

tions about their lifestyle, about their age, about their income
level. We spend a fair bit of time surveying,” said Vogelzang,
“about four times per year. Our audience is interested in
­participating because they know that what we create costs
money to make and they want to help us.”
• Media kit. The media kit should clearly package the preceding
information for potential sponsors and advertisers. The goal is
to make it easy for those who need the information to browse
it. This material should include relevant information about
the show (but often excludes rates). Be sure to also summarize
key information about your audience and videos. This mate-
rial should be laid out in a publishing application and posted
as a PDF to your website.

Identifying and Approaching Sponsors

Approaching sponsors can be a challenge as web video adver-
tising or sponsorship is often handled by very different groups
within an organization. One of the easiest groups to target is
made up of those that are already advertising. Look at top-rated
content that is similar to your genre or web series. Who is adver-
tising in that space already?
Once you’ve identified who is already in the web video market,
an equal (if not better) opportunity exists in finding those who
are not. Look to see if the competitors of the firms you identified
initially are participating. Oftentimes the market leaders with the
biggest budgets aren’t advertising in web video, whereas smaller,
more agile companies are.

© Fotolia.
272   Chapter 13  Monetizing Your Video

Paul Vogelzang builds

customized presentations to
make his case to potential
sponsors. He mixes facts about
the show with specific details
targeted to the client.

Sponsors are going to want to know that you are visible in your
market. This is where the media kit and research we discussed
earlier really matter. Rankings on charts like iTunes matter. So do
YouTube views. Pull up visible accomplishments that less savvy
users can understand. Quality can work too. Focus on unique
accomplishments, top guests who’ve appeared, or other things
like awards or industry recognition.
Be sure to also bundle up your content so it’s easy to see. We’ve
often found ourselves sending preloaded iPods or DVDs to poten-
tial sponsors. Although web video may seem perfectly easy to you,
we’ve encountered more than one person holding the purse strings
who couldn’t figure out how to watch (or hear) video. We’ve even
encountered major sponsors and media firms who’ve had video-
sharing sites blocked to cut down on workers’ “wasting time.”
Once you get your foot in the door, be prepared to make a pro-
posal with your offer. Potential sponsors will want to know about
your video series as well as how you plan to incorporate them.
You’ll also want to demonstrate that you have some metrics for
your video series performance and address how you’ll measure
performance in the future.

Involving Sponsors
There are many ways to involve sponsors that are far more
effective than tacking an advertisement on the front or back of
your video. We don’t recommend that you use all of these meth-
ods at once. Rather, mix things up and use the techniques you
feel most comfortable with.
 Chapter 13  Monetizing Your Video    273

• Invite sponsors as guests. Your sponsors often know your

subject matter quite well. Consider inviting a knowledgeable
expert recommended by your sponsors. Be sure to set some
ground rules for the interview or segment. Stress the relation-
ship with your audience and the genuine connection you are
trying to create. Podcast and web video audiences tend to be
pretty savvy. Make sure you respect the audience, but don’t
miss out on top experts as well.
• Point to a resource. Many sponsors will have useful infor-
mation on their websites. Perhaps it’s a web tutorial or a free
download. It might be a recent report or even a technical
white paper. Try to point out genuine content and even refer-
ence it on your site or in a video.
• Review a product. Your viewers often like to hear the latest
news about products related to your program or topic. Be sure
to offer genuine commentary about the products you review.
Our personal philosophy is to only recommend products that
we’d recommend to a friend or colleague (think 3.5 out of 5
stars or better). If we are asked to review a product that we
don’t like, we send our comments to the manufacturer with
suggestions for improvements. We don’t tend to publish those
opinions, however.
• Use a product in a video. In the world of film and television,
there is definitely a trend to product placement. In this case,
sponsors like to see their products in use by a video’s host. Be
careful to balance the use of product placements and make
sure that you believe in the products you recommend.
• Have a giveaway or a contest. People like free stuff. They also
like games and contests. Consider having contests around
user-generated content, or perhaps a giveaway of free soft-
ware or products. There are legal requirements for contests,
so be sure to work with the sponsor to be compliant with the
law. A useful site to learn more about what issues to consider
is www.squidoo.com/contest-rules.
274   Chapter 13  Monetizing Your Video

• Thank the sponsor in the program. If the host of the video

names and thanks a sponsor in the video, it often has a
positive effect for the sponsor. Chances are the sponsor-
ship you receive is essential to bringing the content to the
viewer. Letting the audience know this can create a halo
effect and lead viewers to check out the sponsor’s website
or products.

• Give sponsors videos for their websites. This is truly a win-

win relationship builder. By giving videos to your sponsors,
they can get more visitors to their site and increase visitation
times. For you, the video creator, you get new potential view-
ers and increased exposure.
 Chapter 13  Monetizing Your Video    275

Banner and Click-Through Advertising

One of the most prevalent forms of advertising on the Internet is the banner ad that asks viewers to click through to visit
another site. The problem with this approach is that it fails to measure the true strengths of web video: personality and
relationships. A banner on a website is much less important than a meaningfully integrated product or the halo effect of
sponsoring great content that an audience loves.
Although sponsors are starting to recognize that web video is an effective, highly targeted medium, the ad agencies
that represent the sponsors are only comfortable with what they know. Unfortunately, this is display advertising. This is
what has been sold in magazines and newspapers for years.
“One of the things we’ve learned through the sale of banner ads is that every single sponsor demands them,” said
Vogelzang. “Most of our viewers subscribe to MommyCast and they get the show via iTunes or another directly, and it’s
pushed to them onto portable devices or their computers. The banner ads really aren’t that meaningful… but they are to
our sponsors.”
How do you resolve this dilemma? Make sure that the links you are using for click-through measurement are
embedded in multiple places. You can also encourage your viewers to frequent sponsors and mention their support of
your program. Ultimately, though, you need to take the high road and attempt to educate your sponsors.
“We sell banner ads because we have to, but it’s not the real value. What the sponsor really gets is an integration
of their product with our content,” said Vogelzang. “For example, our hosts talking genuinely about Microsoft’s parental
controls and how they want those controls for their children… that’s what’s important to our audience. The banner ads
are just a value to the advertiser [and not the viewer].”
Ultimately, if you take the sponsorship path, you’ll need to keep both parties happy. Be sure to not overwhelm your
viewers and also try to mix up the advertisements so your audience doesn’t tune out because of repetition.

Selling Your Content

Logic says if something is good, it’s worth buying (of course,
that theory gets tested all the time). Many video creators are test-
ing that theory and attempting to bring their content directly
to their audiences. There are many potential methods here,
­considering the value of your content.
Many creators have decided that unlimited and free are
­dangerous words. Instead of keeping their entire library of
podcasts or web video freely available, they’ve taken steps to
limit access. The goal is not to drive folks away, just to drive up
demand.

Digital Downloads
One method that video creators seek to employ is that of digi-
tal downloads. With venues like Apple’s iTunes and Amazon.com,
it is getting increasingly easier to deliver for-sale digital files.
276   Chapter 13  Monetizing Your Video

Kim Foley uses her podcast

and web video series to drive
people to her website. Once
there, she offers full-length
DVD training and e-books.

Other creators use private RSS services to limit access for sub-
scribers (check out www.showtaxi.com and www.klicktab.com).
The challenge with downloadable files is digital rights man-
agement (DRM). It is difficult to prevent customers from shar-
ing your files with others who have not paid. The challenge
with DRM is the constant balance to make it restrictive enough
without punishing those who’ve made legitimate purchases.

Traditional Media
Many traditional magazines, television shows, and websites
license content. You may find some interest in licensing your con-
tent to other channels. These arrangements can be for cash up
front, but usually they are done under a profit-sharing arrange-
ment. Networks and syndicators are often looking for additional
content, which can then have ads sold against it.

Back Episodes
Many podcasters and web video producers look to make
money from their catalog of materials. Some do this by bundling
back episodes together and selling them on DVD at full quality.
 Chapter 13  Monetizing Your Video    277

Others make back episodes available for sale or through subscrip-

tion only. The theory here is to keep around 20% of your back epi-
sode content available for free and move the rest behind a wall
that people pay to get access to.

Exclusive or Expanded Content

Another option is to produce shorter videos and then offer
more in-depth materials for sale. Many see web video as a brand
builder, something that can be used to pull in new people and
sell related products or services. Consider using this approach to
take your most loyal fans and make them paying customers. This
approach is like a VIP line. The most interested viewers will want
your best content—and will likely pay for it.

We’ve produced advanced

training in a longer form for
release as an application.
We’ve also included an e-book,
quizzes, and hands-on files
to increase the value of the
content.

Applications
Another solution is the expanding market of applications for
mobile devices. Leading the way is the Apple iOS platform. The
practice here is bundling applications into functioning apps.
We have firsthand experience in this practice. The challenge to
date has been the “race to the bottom” pricing approach that has
pushed applications into selling for very low rates (or even free).
278   Chapter 13  Monetizing Your Video

Fortunately, three recent trends are making this market poten-

tially viable:
• iBooks/eBooks. Devices like the Apple iPad and Amazon
Kindle are beginning to support rich media electronic books.
This means that video can now be safely embedded into
a publication. Apple Pages (part of the iWork suite) makes
authoring an iBook file easy.
• iPad applications. The market seems to have learned from
earlier mistakes with the iPhone. Video-rich iPad apps have
emerged and are sticking to higher prices and offering top
video quality.
• App-building services. Creating applications has continued
to get easier. Thanks to services like AppMakr and appOma-
tor, nonprogrammers can create their own iPhone-compatible
applications. New efforts from Adobe that tie into the inDe-
sign publishing platform are also emerging onto the market.

The Road Ahead

The world of web video and podcasting will continue to evolve at
a rapid pace. To keep this book relevant, please keep in touch with
us. Visit these sites to keep up with the latest news and information:
• Book’s Downloads
(www.hypersyndicate.com)
• RHED Pixel
(www.RHEDPixel.com)
• Rich’s Blog
(www.RichardHarringtonBlog.com)
• Facebook: RHED Pixel
(www.Facebook.com/rhedpixel)
• Facebook: Richard Harrington
(www.Facebook.com/RichHarringtonStuff)
• Twitter
(www.twitter.com/rhedpixel)
• YouTube
(www.youtube.com/rhedpixeltv)
Index
Page numbers followed by b indicate boxes, f indicate figures and t indicate tables.

A Adobe Soundbooth, 171b Apple Final Cut Studio, 132–133

accessibility. See Section 508 Adobe's On Location software, Apple Compressor, 162–163
compliance 82 Apple GarageBand, 160
acknowledgment. See credit adoption of broadband access, Apple iMovie, 132, 134f, 160
acquisition 5b Apple iPad, 7f
of audio, 51–55 AdSense advertisements, 266f applications for, 278
music content, 52–55 Advanced Media Group, 56 b Apple iPhone, 5f
of B-roll, 104–105 advertising, 256, 265–266. See Apple iPod, 195, 198
compression during, 90b also promoting Apple-compatible podcasts,
picking format for, 29–31, 85 banner ads and click-through, 213–214
digital SLR cameras, 90–91 275b Apple iTunes, 8f, 160
HD options, 87–88 revenue from, 265–266. See affiliate program, 265
SD options, 85–90 also monetization aggregating content on,
size, 11 vs. sponsorships, 268–269 256–257
tapeless, 35, 94–96 video hosting and, 233 being found on, 249b
with multicamera working with advertisers, iTunes client vs. iTunes Store,
productions, 99 267–274 215b
action- and title-safe areas, 116, making your case, 269–271 podcast categories and, 204
116f affiliate revenue, 264–265 podcast compatibility with,
action-safe areas, 97 affordability, encoding for, 163 206b
actors. See talent After Effects (Adobe), 19, 108 submitting RSS feeds to,
Adobe After Effects, 108 creating show graphics, 124 216–217, 217b
creating show graphics, 124 age, audience, 10b Apple Keynote slides. See
Adobe Creative Suite Production agencies, for talent, 17 speaker support slides
Premium, 132–133 aggregating content, 256–257 Apple Motion, 125
Adobe Encore, 181 alternate text, 170, 170f Apple QuickTime Pro, 159–160.
Adobe Flash. See Flash video Amazon.com, 265 See also QuickTime
Adobe Flash Catalyst, 180–181 analog screen captures, 111b format
Adobe Flash Media Server, 174, animating photos, 108 applications for mobile devices,
176b app-building services, 278 277–278
Adobe Flash Player, updating, Apple architecture (compression), 164
177f Apple-compatible podcasts, archive materials, 105
Adobe Flash Professional, 180 213–214 artist pages, iTunes, 256–257
creating custom player with, Apple-compatible presets artwork, project-related,
181–185 (encoding), 158–159 123–124
Adobe Media Encoder, 151f, 163, Flash video and, 174b aspect ratio (pixel), 164
180 podcasting for Apple TV, 214, Flash video for Facebook, 188
Adobe Photoshop, 107 214t Flash video for YouTube, 186
creating show graphics, 124 QuickTime. See QuickTime associations, getting visuals
Photoshop for Video, 123b format from, 106
Understanding Adobe Apple Compressor, 162–163 assumptions, as bad idea, 15
Photoshop, 13f, 123b Apple Final Cut Express, 132 attaching lavaliere
Adobe Premiere Elements, 132, Apple Final Cut Pro, 19, 110, microphones, 44
133f, 160–161, 160f 126b, 132b, 138f audience
Adobe Premiere Pro, 132b, 137f history of, 131 age, 10b

279
280   INDEX

audience (Continued) author, podcast, 203–204, 206, 207 bookmarking technologies,

building relationship with, auto-save feature, 144 enabling, 252
259–262 auto white balance, 61b, 65 books, electronic, 278
capabilities of (LCD test), 12, available light, using, 66–67 boom, 44, 44f
12b AVC format. See H.264 format bps. See data rate
deciding on, 9, 13 AVC-Intra format, 90 brand recognition, 261–262.
growth of internet use, 3–4, AVCHD format, 90 See also identity
4t, 5t AVI format, 145 brief videos, as better, 16
hosting video and, 224 Avid editing products, 131 Brightcove, 248
interacting with, 260 broadband internet, growth of,
LCD test, 12b B 3–4, 4t, 5t
for podcasts, 196 B-roll, 104–106 broadband video, growth of, 5b
statistics tracking, 232–233 acquisition of, 104–105 browser-based file loading, 230
sharing results with stock sources, 105–106 browser-based RSS feed
sponsors, 270 back episodes, sale of, 276–277 generators, 211
surveying, 270–271 backdrop selection, 65 budget, 14–16. See also financial
viewer fatigue, 16f background considerations
audio, 41–55 colors of, 122–123 crew size, determining, 27
books on, 54b players in, 18b defining, 13
capturing, 42–51 video graphics and, 117–118 for hosting, 224–227, 227b
common errors, 49–51 type on pattern, 118, 118f sharing line-item budgets, 17b
edits in vocal tracks, 143b backlight, 75 Burns, Richard. See Culture Catch
equipment, 42–48 backup copies, 96 business groups, getting visuals
cables, 46 Common Media Folder, 145 from, 106
external audio recorders, during editing, 144–145 business models, 7
47–48 balanced connections, 46, 82 busyness of video graphics,
headphones, 48 bandwidth requirements for 117–118
lavaliere microphones, video hosting, 227–228, type on pattern, 118, 118f
43–44 228b buzz. See promoting
multichannel mixers, 46–47 banner advertising, 275b
shotgun microphones, batch processing, in encoding, C
44–45, 44f, 45f 159, 164 cables
standard audio kit, 53b batteries, dead, 49–50 crossing wires, 51
stick microphones, 48b Berkman Center (Harvard having spares for, 83b
wireless microphones, 46 University), 200 for microphones, 46
for Flash video, 165b Betacam SP format, 86–87 XLR cables, 82
limitations of web audio, 41–42 Betacam SX format, 86–87 call sheet, 36–37
music, 52–55 Bing, 248 camera motion, avoiding, 97. See
noise reduction, 143b bit rate, 164 also supports for cameras
normalization, 143 variable bit rate (VBR) camera supports (stabilizers),
number of inputs, 99 compression, 164 92–94
from portable devices, 50b Black, Hayden, 260. See Evil cameras, 80–85
quality, lowering, 165 Global Corporation digital SLR cameras, 90–91
sound effects, 52, 55b black level, matching, 100 feature to consider, 80–83
sources of, to acquire, 51–55 blackwrap, 68 for multicamera productions, 99
tracking video traffic, 232–233 blip.tv, 176f, 246–247 color calibration, 69b, 101b,
troubleshooting from editors, blog-based RSS feeds, 207–208 138–139
142 blog software, 211 matching cameras, 99
for visually impaired, 170, 170f blogs, publishing, 244b syncing, 102, 102f, 135
XLR audio inputs, 82 blue screen, lighting and, 65–66, using as deck or card reader,
audio recorder, for site survey, 27 65f, 66f 137b
 Index   281

using for site survey, 27 editing and color correction, server-side encoding, 150b
what to avoid, 83–85 138–139 shaky video and, 97
Camtasia Studio, 109 graphics, set design and, testing, 159, 162f, 168, 169b
captioned video, 171–172, 122–124 tools for, 158–161, 162–163
171f, 172f matching settings for, 100 essential features, 158–159
captures. See screen captures matching with QP cards, 69b vocabulary of, 164b
cardioid microphones, 43 restoring washed-out video, compression preview feature,
Cardomain, 248 restoring, 167 159
case (lettering), mixing, 116b saturation, improving, 167 Compressor (Apple), 162–163
casting talent, 17–18 telling story with, 139b computer screen, capturing. See
categories for podcasts, 204, 206, visual impairment and, 171 screen captures
208 color balance, video graphics, concept development, 8–9, 12
CCDs (charge-coupled devices), 117f being different from
80–81, 80f color grading, 139 competition, 8
cell phones. See mobile devices color temperature, 59–60 involving sponsors,
channel information, RSS feeds, auto white balance, 61b 272–274
207–208 color temperature orange (CTO) questions for project
channels, compression, 164 gels, 60 beginnings, 13b
china ball lanterns, 72–73, 73f colored gels, 60f, 68 writing treatment, 12
chroma key, 65, 66b comedy genre, 10 conference calls, 18
circuit tester, for site survey, 27 Common Media Folder, 145 connection types, camera,
clapboard, 33f, 102 communication 81–82, 88f
clarity, image, 108 with audience, 260 content
clean appearance of motion with clients, 19 creating or acquiring. See
graphics, 121 with sponsors. See sponsors acquisition; concept
click-through, 275b using PDF documents, 36b development
clients (customers), 20b word-of-mouth marketing, describing. See descriptions of
educating, 34 257–258, 258b podcasts and shows
explaining podcasts to, 199b compass, for site survey, 27 identity and. See identity
questions for project compatibility, encoding for, 163 keeping focused, 259
beginnings, 13b compelling title, value of, 241 promoting with, 242
working with, 18–19 compensation. See financial selling, 275–278
clothes, attaching lavaliere considerations content rights management,
microphones to, 44 competition, being different 276
clothespins, for lighting, 69 from, 8 contests, 273
CMOS sensors, 80–81 compression (encoding), contrast
CMX 6000, 131 149–172. See also increasing for visually
codecs encoding (compression); impaired, 171
defined, 164 format of video graphics, 117
for Flash video, 177–179 during acquisition, 90b type on pattern, 118, 118f
for Facebook, 189t advice on, 163–168 correcting color. See color
for YouTube, 187t challenges of, 150 costs. See financial
matching, 99, 100 de-interlacing during, 141, 165 considerations
motion graphics and, defined, 164 counterprogramming, 261
114–115 delivery format selection, coverage with multiple cameras,
rule of 8, 166b 150–157 35
screen captures and, 110 data rate, 157 Creative Commons, 107
cognitive impairment, 170 display size, 156–157 creative commons music, 54
color file format, 151–156 Creative Suite Production
color calibration, 69b, 101b Section 508 compliance, Premium (Adobe),
editing and, 138–139 169–172, 169b 132–133
282   INDEX

credit, 16b development, 7–14 documents

motion graphics production, concept development, 8–9, 12 essential planning
120b being different from documents, 36–37
thanking sponsors, 274 competition, 8 call sheet, 36–37
crew involving sponsors, release form, 37
call sheet, 36–37 272–274 shot list, 36
determining proper size, 25–27 writing treatment, 12 lighting diagrams, 75–78
maximizing the day and, 32–34 genre development, 10, 10f domain name selection, 225b
one-man-band production questions for project private-domain hosting, 231
approach, 26b beginnings, 13b download statistics, tracking,
professionalism of, 19 technical approach, 11–12 232–233
release form, 37 writing video or description, sharing results with sponsors,
cross-promoting and cross- 14 270
selling, 255–256, 266 DigiBeta format, 86–87 drive mirroring, 144
crossing wires, 51 digital camera, for site survey, 27 drive speed, 136b
crushing blacks, 167 digital downloads (sales), DRM (digital rights
CTO (color temperature orange), 275–276 management), 276
60 digital rights management DSLR. See digital SLR cameras
Culture Catch, 28b (DRM), 276 dual chain errors, 141b
customer ratings, 257f digital SLR cameras, 90–91, DV format, 86
customer support for editing 93–94 editing tools and, 130
tools, 137 tapeless acquisition with, 94 keying and, 65b
customers. See clients dimmers, 68, 68f motion graphics and, 115b
customizable video players, direct monetization, 264 screen captures and, 110
181–185, 231–232 direct to DVD, 84 DVCAM format, 86
customized encoding presets, direction, microphone, 43 DVCPRO format, 86
159 directories for podcasts, 218. DVCPRO 50 format, 86
See also Apple iTunes DVCPRO HD format, 86, 88–89
D display size. See screen size DVR players, 156b
daily backups, 145 dissolves, 140, 143b dynamic noise reduction, 143b
Dailymotion, 248 distributing video, 1–2
data assistant, 96 back episodes, 276–277 E
data rate, 157 delivery, 11–12 e-books, 278
de-interlacing, 141, 165, 165f format selection, 150–157 ease of using editing software,
dead batteries, 49–50 preprocessing Flash video, 133–134
deadlines, determining, 13 185–188 edit points (motion graphics),
dedicated video hosting direct-to-publishing camera 121
services, 226 features, 84 editability of motion graphics,
delivery, 11–12 HD format and, 29, 30 120–121
format selection, 150–157 podcasts, 202b, 214–219. See EditDroid system, 131
preprocessing Flash video, also RSS technology editing, 129–145
185–188 with Apple compatibility, action- and title-safe areas,
for Facebook, 188 213–214 97
for YouTube, 186–188 optimizing the feed, 216 interlacing fixes during, 142b
descriptions of podcasts and programming RSS feeds, nonlinear, evolution of,
shows, 204–205, 206, 208, 209–213 129–137
209 submitting to directories, nonlinear, history of, 131b
audio, for visually impaired, 216–218 software for, 131–132
170, 170f testing the feed, 214–215 editing formats, 134–135
sharing with potential sharing videos with sponsors, selection criteria, 132–137
sponsors, 270 274 from tapeless media, 95b
 Index   283

technical considerations, Episode and Episode Pro estimating time. See time
137–145 (Telestream), 162 estimates
audio mix, 142 episode details, podcasts, 205, events, shooting at, 37b
audio normalization, 143 208–209 Evil Global Corporation, 3b, 14f,
backups, 144–145 equipment 260
color and exposure, 138–139 audio, 42–48 exclusive content, selling, 277
finishing size, 137–138 cables, 46 expanded content, selling, 277
flash frames, 139, 140 external audio recorders, expenses. See budget; financial
interlacing, 140, 141f 47–48 considerations
run time strategies, 143–144 headphones, 48 exporting from editors, 136
sequence settings, 138 lavaliere microphones, exporting speaker slides,
shot selection, 141–142 43–44 112–113
transitions, 140 multichannel mixers, 46–47 Expression Encoder, 161
workflow for quality portable devices, 50b Expression Encoder Pro, 161
improvements, 144b shotgun microphones, external audio recorders, 47–48
educating clients, 34 44–45, 44f, 45f
educational videos, 10 standard audio kit, 53b F
electrical power. See power stick microphones, 48b F4V format, 179
electromagnetic hum from wireless microphones, 46 Facebook, 254
crossed wires, 51 cables. See cables specifications for Flash video,
Electronic Field Production camera supports, 92–94 188
(EFP), 16 cameras, 80–85 false hits, 232b
Electronic News Gathering, 16 digital SLR cameras, 90–91 featured content, iTunes Store,
Elgato Turbo .264 HD, 163b feature to consider, 80–83 249
email marketing, 262 for multicamera Feed Validator, 215f
email subscriptions to podcasts, productions, 99 feedback from viewers, 257f
216b what to avoid, 83–85 FeedBurner, 216, 247b, 262
embedded Flash video, 177 clapboard, 33f, 102 field mixers, 47
encoding (compression), for Culture Catch, 24–27 batteries for, dead, 49–50
149–172 LetsKnit2gether podcast, file format. See format
during acquisition, 90b 132–137 file size
advice on, 163–168 lighting, 67–73 display size and, 165
challenges of, 150 building lighting kits, 69b Flash video for Facebook, 189t
compression tools, 158–161, china ball lanterns, 72–73, 73f Flash video for YouTube, 187t
162–163 fluorescent fixtures, 70–71 files, saving. See backup copies
essential features, 158–159 HMI lights, 62–63, 62f fill light, 74
delivery format selection, LED lights, 71–72 filming. See shooting
150–157 multicamera talk shows, 78 Final Cut Express (Apple), 132
data rate, 157 reflectors, 62, 62f Final Cut Pro (Apple), 19, 110,
display size, 156–157 safety considerations, 59b 126b, 132b, 138f
file format, 151–156 technical training sets, 77 history of, 131
resource on, 168b tungsten lighting kit, 67–69, Final Cut Studio (Apple),
Section 508 compliance, 68f 132–133
169–172, 169b two-person interviews, 76 Apple Compressor, 162–163
server-side encoding, 150b maximizing day and, 33 financial considerations. See
shaky video and, 97 moving, lost time from, 34 also monetization
testing, 159, 162f, 168, 169b Rest of Everest gear list, budget. See budget
vocabulary of, 164b 104–105 crew size, determining, 27
Encore (Adobe), 181 for site survey, 27, 28b editing software costs,
enhanced content, selling, 277 slates, 135b 132–133
enhancing images, 107 two-camera HD package, 98b encoding for affordability, 163
284   INDEX

financial considerations font selection, 115–116 G

(Continued) mixed case, 116b gaffer tape, 69
hosting web video, 224–227, footage, B-roll. See B-roll gamma settings, matching, 100
227b for-sale digital files, 275–276 GarageBand, 160
lighting. See lighting foreground, video graphics and, gear. See equipment
talent, 18 117–118 gear lists
finishing size, editing and, type on pattern, 118, 118f Culture Catch, 24–27
137–138 format. See also specific format LetsKnit2gether podcast,
FireStore, 35f by name 132–137
FireWire technology, 81–82, 82b delivery format, 150–157 Photoshop User TV, 221
dual chain errors, 141b dual chain errors, 141b Rest of Everest gear list,
editing tools and, 130 editing software and, 134–135, 104–105
fish pole, 44, 44f 136 two-camera HD package, 98b.
the Five W's, 9b, 13b encoding for the Web. See See also multicamera
5min.com, 248 encoding (compression) coverage
fix-it-later philosophy, 31, 63b high-definition. See HD video gels, 60f, 68
Flash Catalyst (Adobe), 180–181 JPEG, avoiding, 107b genre development, 10, 10f
flash frames, 140, 140b LCD test, 12b giveaway events, 273
Flash Media Server (Adobe), 174, matching in multicamera gloves, for handling lights, 68
176b productions, 99 goals, determining, 12
Flash Player (Adobe), updating, picking acquisition format, gobos, 123–124
177f 29–31, 85 Goodnight Burbank series, 240f
Flash Professional (Adobe), 180 digital SLR cameras, 90–91 Google FeedBurner, 216, 247b,
creating custom player with, HD options, 87–88 262
181–185 SD options, 85–90 Google Image Search, 107b
Flash video, 154, 173–188 podcasts, Apple-compatible, graphic identity, 120–124
audio rate, 165b 213–214 brand recognition, 261–262
compression tool support for, RSS feeds, 202 logo bugs, 121
158 self-contained files, 145 podcasts, 206
delivery of, 174–177 speaker slides, for editing, video style and, 122, 123b
essential formats, 177–179 112–113 graphics. See motion graphics;
history of, 174b web audio, limitations of, 41–42 text graphics; visuals, for
players for 4 × 3 aspect ratio, 98 telling story
Adobe Flash Player, fps. See frame rates Graspr, 248
updating, 177f frame rates, 100. See also format grayscale viewfinders, 83
creating custom players, Flash video for Facebook, 188, green screen, 34–35
181–185 189t lighting considerations, 65–66,
preprocessing, 185–188 Flash video for YouTube, 186, 65f, 66f
for Facebook, 188 187t GrindTV, 248
for YouTube, 186–188 reducing, in compression, 168 growth of broadband internet,
tools for creating, 179–181 screen captures and, 110 3–4
worldwide presence, 173t frame size, matching, 100 growth of broadband video, 5–6
flexibility of motion graphics, free hosting services, 225 guests, sponsors as, 273
120–121 frequency of production, 11 GUIDs for podcast episodes, 209
flip cameras. See mobile planning on multiple shows, 32
devices frequency of release, 32 H
fluorescent fixtures, 70–71 Fresnel lamps, 68 H.264 format, 90, 152–153, 153b
FLV format, 178 FTP software, 230b compression tool support for,
foam core reflectors, 62f FTP upload, for video hosting, 158
Focalware, 28f 230 Elgato Turbo .264 HD, 163b
Foley, Kim, 276f full-color viewfinders, 83 with Flash video, 175
 Index   285

as future proof, 152b hyper-syndication, 158b, stick microphones for, 46

as podcast format, 213, 214 245–250 technical training sets,
testing editing software places to host content, lighting, 77
output, 136 247–248 tips for, 91b
handcoding RSS feeds, 206–209 RSS notifications, 250 two-person interviews,
hard drives tools for, 245–247 lighting, 76
mirroring, 144 hypercardioid microphones, 43 involving sponsors, 272–274
protected, 145 iPad (Apple), 7f, 278
speed of, 136b I applications for, 278
Harrington, Richard, 107 i-books, 278 iPhone (Apple), 5f, 213–214
HD video, 11, 11b, 87–88 identifiers for podcast episodes, iPod (Apple), 195, 198, 213–214
benefits of, 29–30 209 iShowU, 109, 110f
drawbacks of, 30 identifying sponsors, 271–272 iTunes. See Apple iTunes
HDV format, 89, 89b identity iWeb, 210f
keying and, 65b being different from
screen captures and, 110 competition, 8 J
headphones, 48 brand and host recognition, Jammin Java, 67f
hearing impairment, 170, 261–262 JPEGs, avoiding, 107b
171–172 domain name, 225b, 231
high-definition video, 11, 11b, graphic identity, 120–124 K
87–88 brand recognition, 261–262 kbps. See data rate
benefits of, 29–30 logo bugs, 121 key. See chroma key
drawbacks of, 30 podcasts, 206 key light, 74
high-resolution viewfinders, 83, video style and, 122, 123b Keygrip project, 131
83f iFood.TV, 248 Keynote slides. See speaker
HMI lights, 62–63, 62f image quality support slides
host recognition, building, data rate and, 157 keywords for videos, 205, 206,
261–262 importance of, 149f 244, 252
hosting web video, 223–235 images. See photos; visuals, for for Facebook, 188
budgeting for, 224–227, 227b telling story findability on iTunes Store,
places to host content, iMovie (Apple), 132, 134f, 160 249b
247–248 impairment types, 170 Kino Flo lights, 70f, 71f
requirements for, 227–234 importing video into Flash
advertising model, 233 Professional, 183 L
bandwidth and tools, indirect monetization, 264 landing pages, 267f
227–229, 228b, 231–232 indoor lighting considerations, large events, shooting at, 37b
domain, 231 58–61, 58f lavaliere microphones, 43–44
file upload, 230 multicamera coverage, 63–64 LCD (lowest-common
statistics tracking, 232–233 reflectors, 61b denominator) test, 12b
terms of service, 234 using available light, 66–67 LCD viewfinders, 83
website requirements, inputs (audio), number of, 99 LED lights, 71–72
223–224 interacting with audience, 260 length, video, 16, 143–144
vendors, list of, 235, 236t interlacing, 140–141, 141f, 165f. Flash video for Facebook,
Howcast, 248 See also de-interlacing 189t
HTML5, 153b, 154b internet users, growth of, 3–4, Flash video for YouTube, 187t
Flash video and, 175 4t, 5t podcast episodes, 209
HTML5 video, 153 interviewing LetsKnit2gether podcast, 135b
Hulu, 7f lavaliere microphones for, lettering. See font selection
hum from crossed wires, 51 43–44 levels, sound, 49
human resources. See crew; talent multicamera talk shows, normalization, 143
humor. See comedy genre lighting, 78 licensed music, 52–53
286   INDEX

licensing content for money, 276 M microphones, 43

light-emitting diodes. See LED MacBreak, 157f batteries for, dead, 49–50
lights Macromedia Keygrip project, cables for, 46
light bulbs, 70f, 73 131 lavaliere, 43–44
lighting, 57–78 Magic Bullet, 63 mic/line level, 49
books on, 73b makeup and makeup artists, multiple, multichannel mixers
color calibration, 69b, 101b 19b with, 46–47
editing and, 138–139 mapping production, 31–35 placement of, 50–51
color matching with QP cards, maximizing locations, 34–35 shotgun, 44–45
69b maximizing the day, 32–34 shotgun microphones, 44f,
equipment, 67–73 planning for multiple shows, 45f
building lighting kits, 69b 32 stick microphones, 46
china ball lanterns, 72–73, tapeless acquisition, 35, USB microphones, 51–52, 54f
73f 94–96 wireless, 46
fluorescent fixtures, 70–71 with multicamera Microsoft Expression Encoder,
HMI lights, 62–63, 62f productions, 99 161
LED lights, 71–72 marketing. See also Microsoft Expression Encoder
multicamera talk shows, 78 monetization Pro, 161
reflectors, 62, 62f by email, 262 Microsoft PowerPoint slides. See
technical training sets, 77 groundwork for, 239–245 speaker support slides
tungsten lighting kit, 67–69, tracking video traffic, Microsoft Silverlight, 155–156
68f 232–233 Miller, Jon, 126
two-person interviews, 76 word-of-mouth marketing, mini connectors (cables), 46
green or blue screen, 65–66, 257–258, 258b Miro podcast player, 197f
65f, 66f matching cameras, 100 mirroring drives, 144
indoor, 58–61, 58f calibrating, 69b, 101b mixed-case text, 116b
for multicamera coverage, color calibration, 101b mixed-resolution motion
63–64 editing and, 138–139 graphics, 110
outdoor, 61–67 maximizing locations, 34–35 mixers, 46–47
power for, 60–61 maximizing the day, 32–34 batteries for, dead, 49–50
safety, 59b, 68f Mbps. See data rate mobile devices
setup design, 34f mDialog, 248 applications for, selling,
three-point lighting, 74b meal breaks, 33 277–278
using available light, 66–67 media companies (traditional) audio from, 50b
lighting diagrams, 75–78 alignment with, 243 Flash video on, 173b, 174,
LightTrac, 28f licensing content for money, 174f
line-item budgets, sharing, 17b 276 podcasts on, 198, 198b, 198f.
live social engagement, 255 press coverage, 258 b See also podcasting
locations role of, 6–7 (podcasts)
field interviewing with stick Media Encoder (Adobe), 151f, video on, 16f, 84
microphones, 46 163, 180 growth of, 5–6
large events, 37b media kits, 271, 272 shooting for portability,
maximizing, 34–35 media partners, alignment with, 96–98
surveying, 27, 27b, 28b 243 MommyCast program, 11f, 32,
for lighting situation, 59 message. See visuals, for telling 123f, 268f
logos story audience surveys, 270
logo bugs, 121 metadata, importance of, 252b. monetization, 2, 263–278.
podcasts and podcast See also keywords for See also financial
episodes, 208 videos considerations;
project-related, 123–124 Metcafe, 248 marketing; promoting
loop-based music, 54–55 microphone flags, 124 advertising, 256, 265–266
 Index   287

banner ads and click- MPEG format, 151–152 on-camera behavior, 20b
through, 275b compression tool support for, On Location software (Adobe),
revenue from, 265–266 158 82
vs. sponsorships, 268–269 keying and, 65b On2 VP6 codec, 178–179
video hosting and, 233 as podcast format, 213 one-man-band production
working with advertisers, testing editing software approach, 26b
267–274 output, 136 OneLoad service, 246
hosting video and, 224 MPEG Streamclip, 161, 161f online video. See entries at video
revenue sources, 264–266 multicamera coverage, 35, open captions, 171
selling content, 275–278 99–102 open communication, 19
sponsors and advertisers, camera requirements, 99 open face type light, 68
267–274 color calibration, 69b, 101b, Open Screen Project, 179b
traditional media 138–139 opportunities with web video,
companies, 7 matching cameras, 100 3–7
value of, 267–268 syncing cameras, 102, 102f, opt-in advertising programs,
monopods, 93 135 265, 265f
Motion (Apple), 125 editing abilities, 135 optimizing RSS feeds, 216
motion blur, 115b lighting considerations, 63–64 original music, 55
motion control to animate talk shows, lighting, 78 originality, 8, 22
photos, 108, 108b two-camera HD package, 98b Ortega, Roy, 190b, 240, 241f, 253
motion graphics, 113–119. See multichannel mixers, 46–47 outdoor lighting considerations,
also text graphics; visuals, batteries for, dead, 49–50 61–67
for telling story multiple shows, planning for, 32 multicamera coverage, 63–64
clean appearance of, 121 multiple treatments, having, 12b using available light, 66–67
color integration with set music, 52–55 outlet testing, 60f
design, 122–124
editability of, 120–121 N P
graphic identity, 120–124 narration audio, 51–52 P2 cameras, 30f, 88–89
brand recognition, Netflix, 7f tapeless acquisition with, 94
261–262 nightly backups, 145 Panasonic AVC-Intra format, 90
logo bugs, 121 9-pin ports, 82 Panasonic DVC formats. See
podcasts, 206 NLE. See editing; nonlinear entries at DVC
video style and, 122, 123b editing software Panasonic P2. See P2 cameras
logo bugs, 121 noise-canceling headsets, 48 paper lanterns, 73
production company credit, noise reduction, 143b parameters of video, setting, 12
120b nondestructive editing, 129b partnering with sponsors. See
for Rest of Everest series, nonlinear editing software, sponsors
126b 131–132, 131b. See also past productions, getting visuals
show graphics, creating, editing from, 106
124–125 editing formats, 134–135 PDF files for essential
spelling errors, 142b selection criteria, 132–137 documents, 36b
testing, 119b nonunion talent, 51 personality, video, 116b, 122,
visibility with captions, normalizing audio, 143 123b. See also graphic
172f identity
motion of camera, avoiding, O motion graphics and, 122,
97. See also supports for offsite video hosting, 226 123b
cameras old productions, getting visuals personnel. See crew; talent
motor impairment, 170 from, 106 Pew Internet Project, 3
.mov files. See QuickTime format omnidirectional microphones, phones. See mobile devices
moving RSS feeds, 213b 43 phono connectors (cables), 46
.mp4 files. See MPEG format OmniGraffle, 34f Photo Trekker series, 242f
288   INDEX

photos, 106–108. See also screen delivering with Apple essential planning
captures compatibility, 213–214 documents, 36–37
animating with motion designing RSS feeds, 203–206 call sheet, 36–37
control, 108, 108b explaining to clients, 199b release form, 37
enhancing images, 107 iTunes-friendly, 206b shot list, 36
Photoshop (Adobe), 107 making money from. See needs for, determining, 24–27,
creating show graphics, 124 monetization 31–35
Photoshop for Video, 123b Photoshop User TV, 220b determining crew size,
Photoshop User TV, 220b programming RSS feeds, 25–27
Photovision One Shot, 101 209–213 site survey, 27, 27b, 28b, 59
ping, 250 promoting. See promoting work breakdown structure,
pingomatic.com, 250 publishing, 202b 24–25
pixel aspect ratio, 164 with Apple compatibility, prerendering, 120
placement of microphones, 213–214 presets, encoding, 158–159,
50–51 RSS and, 202. See also RSS 162f
planning, 1 technology preview, compression, 159
determining preproduction submitting to directories, previous productions, getting
needs, 24–27, 31–35. See 216–218 visuals from, 106
also preproduction testing the feed, 214–215 private-domain hosting, 231
determining crew size, subscriptions, 195, 216b Produce Picker podcast, 190b,
25–27 for-sale digital files, 241f, 261f
site survey, 27, 27b, 28b, 59 275–276 producing video, 1
work breakdown structure, of listeners, studying, 259 essential preproduction,
24–25 making easy for audience, 23–37
essential planning 261f determining preproduction
documents, 36–37 podsafe music, 54 needs, 24–27
call sheet, 36–37 political videos, 10 essential planning
release form, 37 polling audience, 270–271 documents, 36–37
shot list, 36 portability mapping production, 31–35
for multiple shows, 32 encoding for, 163 picking acquisition format,
prepping talent, 19 shooting for, 96–98 29–31, 85
questions for project portable media players. See frequency of production, 11, 32
beginnings, 13b mobile devices involving sponsors, 272–274
talent. See talent power maximizing production days,
players audio recording, 49–50 32–34
customizable video players, for lighting, 60–61 maximizing the day, 32–34
181–185, 231–232 power windows, 118b, 139b technical approach, 11–12
for Flash video, 177f, 181–185 PowerPoint slides. See speaker time estimates, 15–16, 33b
portable. See mobile devices support slides notifying talent of, 18
podcast aggregators, 197b PR firms, 243b production company credit,
podcast descriptions. See Premiere Elements (Adobe), 132, 120b
descriptions of podcasts 133f, 160–161, 160f products, sponsor, 273
and shows Premiere Pro (Adobe), 137f professional groups, getting
Podcast Maker, 212 preparing talent, 19 visuals from, 106
Podcast RSS Buddy, 212 prepping talent, 19 professional video, defined, 2–3
podcasting (podcasts), 193–219 preproduction, 23–37 professionalism, 17, 19
aggregating content, 256–257 acquisition format selection, progressive download, for Flash
audience for, 196 29–31, 85 video, 176–177
contents of RSS feeds, 206–209 digital SLR cameras, 90–91 progressive frame rates, 30, 141
criteria for, 195 HD options, 87–88 project logos or artwork,
defined, 194–198, 194b, 196b SD options, 85–90 123–124
 Index   289

promoting, 2, 239–262. See also read times, 119 notifying directories of new
monetization real-time engagement, 255 content, 250
additional strategies, 255–258 receptacle tester, 60f podcasting and, 202
advertising, 256, 265–266 recommending sponsor programming feeds, 209–213
banner ads and click- products, 273 publishing feeds, 214–219
through, 275b recording audio. See audio with Apple compatibility,
revenue from, 265–266 recruiting talent, 18 213–214
vs. sponsorships, 268–269 refillable sandbags, 71b optimizing the feed, 216
video hosting and, 233 reflectors, 62, 62f programming RSS feeds,
working with advertisers, registering podcasts on iTunes, 209–213
267–274 216–217 submitting to directories,
affiliate revenue from, regular backups. See backup 216–218
264–265 copies testing the feed, 214–215
building audience Rehabilitation Act. See Section rule of 8, 166b
relationships, 259–262 508 compliance run time, 143–144
cross-promoting and cross- relationships with audience,
selling, 255–256, 266 259–262 S
groundwork for, 239–245 release form, 37 safety, lighting, 59b, 68f
hyper-syndication, 158b, render time, 30 sampling rate, defined, 164
245–250 reshaping video, 166 sandbags, refillable, 71b
places to host content, resolution saturation, improving, 167
247–248 defined, 164 saving work. See backup copies;
RSS notifications, 250 editing software and, 134–135 format
tools for, 245–247 Flash video for Facebook, 188, scan converters, 111
using social media, 251–255 189t scene transitions, quality of,
prop pieces (set design), 124 Flash video for YouTube, 187, 140
protected drives. See backup 187t scheduling
copies images, 108 being reasonable, 33
public relations firms, 243b motion graphics, 110 call sheet, 36–37
publishing video. See screen captures, 109–110 lighting on deadline, 58–67
distributing video video, as not everything, 84 maximizing the day, 32–34
Rest of Everest series, 126b Sclipo, 248
Q restoring blacks, 167 screen captures, 108–110
QP cards, 69b, 101 revenue sources, 264–266 analog, 111b
quality, audio, 165 reviewing sponsor products, strategies for, 109–110
quality, image. See image quality 273 screen size
quality, video. See video quality RF microphones (wireless), 46 file format selection and,
questions for project RHED Pixel, 123b, 132b, 224f, 156–157
beginnings, 13b 266 file size and, 165
queue, podcast submission, Rich Harrison blog, 107 motion graphics for, 113–114
218–219, 219b rights management, 276 shooting for, 96
QuickTime format, 145, 154, royalty-free music, 54 Screenflow, 109
154b RSS-DEV Working Group, 200 Screenr application, 109
captioning for, 172b RSS technology, 199–202 SD video, 85–90
QuickTime Pro (Apple), 159–160 capabilities and flexibility of, search engine optimization
201 (SEO), 244–245
R designing feeds, 203–206 search keywords. See keywords
RapidWeaver platform, 224f feed contents, 206–209 for videos
RasterVector blog, 224f history of, 200 Section 508 compliance,
RCA connectors (cables), 46 hosting tools with, 229 169–172, 169b
read-aloud rule, 119f moving RSS feeds, 213b Seeley, Justin, 253f
290   INDEX

self-contained movie files, 145 small screen size, shooting for, stealing music, 52–55
self-hosting, 226–227 96 stick microphones, 46
selling content, 275–278 smart phones. See mobile stock sources of footage,
sensor, camera, 80–81 devices 105–106
SEO (search engine Snapz Pro, 109 photos, 107
optimization), 244–245 social media. See also Facebook; Stomp, 159f, 161
sequence settings, editing to, Twitter storage requirements for
138 enabling share technologies, hosting, 228–229
server-side encoding, 150b 252 storytelling. See visuals, for
set design, color palette and, integrating with, 229 telling story
122–124 promoting with, 242 Stretfire, 248
shaky video, avoiding, 97. See tools for, 251–255 StupidVideos, 248
also supports for cameras SocialOomph.com, 253b submitting feeds to directories,
share technologies, enabling, 252 software for editing, 131–132 216–218
sharing videos with sponsors, 274 editing formats, 134–135 subscriptions, 195, 216b
shooting. See videography history of, 131b for-sale digital files, 275–276
short videos, as better, 16 selection criteria, 132–137 of listeners, studying, 259
shot list, 36 solid bar background for text, making easy for audience,
shotgun microphones, 44–45, 118f 261f
44f, 45f Sony Betacam format. See summary, podcast, 206
show descriptions. See entries at Betacam SunPath calculator, for site
descriptions of podcasts Sony Vegas Movie Studio, 132 survey, 27
and shows Sony XDCAM formats. See supercardioid microphones, 43
show graphics, creating, entries at XDCAM support for editing tools, 137
124–125, 206 Sorenson Spark codec, 179 supports for cameras, 92–94
show ratio, 14b Sorenson Squeeze, 162 surveying audience, 270–271
shutter speed, matching, 100 sound. See audio surveying locations, 27, 27b, 28b
signal sensors, 81 sound effects, 52, 55b for lighting situation, 59
Silverlight, 155–156 sound recorder, for site survey, 27 surveys, to audience, 260f
simplicity of editing software, Soundbooth (Adobe), 171b Susch, CAT and Eric, 135b
133–134 speaker support slides, 112–113 SWF format, 177, 178
Singular Software, 49b, 135 design of, 112, 112f sync sound workflow, 49b
site survey, 27, 27b, 28b exporting for editing, 112–113 syncing cameras, 80–81, 102f
for lighting situation, 59 speed, hard drive, 136b syndication, 158b, 195
6-pin ports, 81–82 spelling errors, 142b
16 × 9 aspect ratio, 98 sponsors, 267–274 T
size vs. advertising, 268–269 tagging videos, 205, 206, 244, 252
display size (window size) explaining value to, 269–271 for Facebook, 188
file format and, 156–157 hosting websites and, 224 findability on iTunes Store,
file size and, 165 identifying and approaching, 249b
reshaping, 166 271–272 talent, 17–19
finishing size, editing and, involving, 272–274 background players, 18b
137–138 Sportpost, 248 call sheet, 36–37
motion graphics, 113–114 stabilizers, 92–94 casting, 17–18
screen captures, 109–110 staffing. See crew; talent narration, recording, 51–52
video files. See file size standard-definition video, 85–90 on-camera behavior, 20b
skinning custom Flash player, stands, lighting, 69, 69f original music, 55
183–185 statistics tracking, 232–233 preparing, 19
slates, 135b sharing results with sponsors, recruiting, 18
slaving cameras together, 102 270 talent release form, 37
SLR cameras (digital), 90–91 Steadicam, 93 tape formats. See format
 Index   291

tapeless acquisition, 35, 94–96 titles of podcasts (shows), 203, upload limits, 150
with multicamera 205, 206, 207 uploading videos (for hosting)
productions, 99 being compelling, 241 from browser, 230
tapeless media, editing from, 95b TiVo, 156b, 247f with FTP, 230
Tascam audio recorder, 49f TiVoCasts, 156 USB microphones, 51–52, 54f
technical approach, developing, TiVoToGo software, 156 USB video conferencing
11–12 Top List (iTunes Store), 249 cameras, 85
technical support for editing topics, keeping focused, 259 UStream, 255b
tools, 137 tracking video traffic, 232–233
technical training sets, lighting, 77 trade groups, getting visuals V
Telestream Episode and Episode from, 106 variable bit rate (VBR)
Pro, 162 traditional media compression, 164
television networks, 6–7 alignment with media VBR compression, 164
telling story. See visuals, for partners, 243 Vegas Movie Studio (Sony), 132
telling story licensing content for money, vendor selection, for video
terms of service, with video 276 hosting, 235, 236t
hosting, 234 press coverage, 258 b Viddler, 248
testing role of, 6–7 video(s)
editing software exports, 136 traffic, tracking, 232–233 development of. See
encoding (compression), 159, training on editing software, development
162f, 168, 169b 134b distributing. See distributing
Flash video for Facebook, 188 transcripts, 172 video
Flash video for YouTube, transitions, quality of, 140 editing. See editing
187–188 treatment, writing, 12 encoding. See encoding
podcast feeds, 214–215 having multiple treatments, (compression)
server-side encoding, 150 12b hosting. See hosting web
text graphics questions for project video
font selection, 115–116 beginnings, 13b internet users, growth of, 3–4,
mixed case, 116b tripods, 92 4t, 5t
logo bugs, 121 TubeMogul, 246 monetizing. See monetization
placement of visuals, 116 tungsten lighting kit, 67–69, 68f opportunities with web video,
production company credit, building, 69b 3–7
120b Turbo .264 HD (Elgato), 163b planning. See planning
read times, 119 Twitter, 252–253 producing. See producing
spelling errors, 142b scheduling tweets, 253b video
testing, 119b two-person interviews, lighting, promoting. See promoting
type on pattern, 118, 118f 76 publishing. See distributing
typeface selection, 115–116 type on pattern, 118, 118f video
texting graphics, 119b typeface. See font selection; text shooting. See shooting
thank-yous. See credit graphics sites for sharing, 7, 265, 265f
thanking sponsors in programs, writing, 14
274 U video cameras. See cameras
third-party video hosting, 226 unbalanced connections, 46 video conferencing cameras, 85
three-point lighting, 74b Understanding Adobe video formats. See format
time estimates, 15–16, 33b Photoshop, 13f, 123b video graphics. See graphics
notifying talent of, 18 unidirectional microphones, 43 Video Import Wizard (Flash
time of day timecode, 102 union talent, 51 Professional), 181
timecode properties, 100, 102 unique identifiers for podcast video length, 16, 143–144
timeline (sequence settings), episodes, 209 Flash video for Facebook, 189t
editing to, 138 unlimited bandwidth for Flash video for YouTube, 187t
title-safe areas, 97 hosting, 227f, 228b podcast episodes, 209
292   INDEX

video players visuals, for telling story, 103–125 website requirements for video
customizable video players, B-roll, 104–106 hosting, 223–224
181–185, 231–232 acquisition of, 104–105 website statistics. See statistics
for Flash video, 177f, 181–185 stock sources, 105–106 tracking
portable. See mobile devices color, to tell story, 139b widgets, 254b
video podcasts. See podcasting creating show graphics, Wikimedia Commons, 107
(podcasts) 124–125 wind noise, 45
video quality graphic identity, 120–124 Windows Media, 155
encoding for, 163 brand recognition, 261–262 Windows Media Encoder, 161
improvement workflow, 144b logo bugs, 121 Windows Media Player, 155
video style, graphics and, 122, podcasts, 206 Windows Movie Maker, 132
123b video style and, 122, 123b Winer, Dave, 200
video subscriptions, 195, 216b motion graphics, 113–119 wireless microphones, 46
for-sale digital files, 275–276 photos, 106–108 WMV format, 84
of listeners, studying, 259 animating with motion wooden clothespins, for lighting, 69
making easy for audience, 261f control, 108, 108b word-of-mouth marketing,
video upload (for hosting) enhancing images, 107 257–258, 258b
from browser, 230 production company credit, work breakdown structure, 24–25
with FTP, 230 120b workflow for quality
videography, 79–102. See also for Rest of Everest series, 126b improvements, 144b
acquisition screen captures, 108–110 Wright, Dusty. See Culture Catch
acquisition format, 29–31, 85 speaker support slides, writing treatment, 12
digital SLR cameras, 90–91 112–113 questions for project
HD options, 87–88 design of, 112, 112f beginnings, 13b
SD options, 85–90 exporting for editing, writing video, 14. See also
camera selection, 80–85 112–113 development
feature to consider, 80–83 spelling errors, 142b WYSIWYG feed generation,
what to avoid, 83–85 testing, 119b 212–213
camera supports, 92–94 text. See text graphics
green screen, 34–35 video personality, 116b, 122, X
lighting considerations, 123b XDCAM format, 87
65–66, 65f, 66f motion graphics and, 122, tapeless acquisition with, 94
locations for. See locations 123b XDCAM HD format, 89–90
multicamera productions. See visibility with captions, 172f tapeless acquisition with, 94
multicamera coverage Vogelzang, Paul, 272f. See also XLR, meaning of, 82b
matching cameras, 100 monetization XLR audio inputs, 82
shooting at large events, 37b XLR connectors (cables), 46
shooting for portability, 96–98 W XML feeds, reading, 199f
tapeless acquisition, 35, 94–96 Wal-Mart effect, 167
with multicamera wardrobe, attaching lavaliere Y
productions, 99 microphones to, 44 Yahoo! Video, 248
videojug, 248 washed-out video, restoring, YouTube, 84, 153f, 155b
viewer fatigue, 16f 167 aggregating content on, 257
viewer statistics. See statistics WBS. See work breakdown player, as not customizable, 231
tracking structure social media integration, 229f
viewfinders, 83, 83f web audio. See audio technical specifications, 186–188
vignettes (power windows), web-based RSS feed generation,
118b, 139b 211 Z
Vimeo, 234f Web, encoding for. See encoding Zoopy, 248
visual impairment, 170 (compression) Zune player, 155, 211b
audio description, 170, 170f web video. See entries at video Zylight fixtures, 72f