DIGITAL OPEN CALL: $20K for Black Digital Projects from NBPC

From the National Black Programming Consortium
http://www.blackpublicmedia.org/for-producers

Your support and engagement with our summer of original content brought us a very fulfilling season. We hope you enjoyed Mondo Black, and Black Folk Don’t, and we hope you continue to engage with them, leave your comments, and join the conversation via Twitter and Facebook!

Both series were funded through our annual Digital Open Call; an interactive call for original web content focused on stories about the global black diaspora. Stories can be narrative, documentary, audio, video, etc, as  long as they present a unique opportunity for our audience to interact  around engaging subject matter.

And for the very first time this year we are opening up the call to include “serious games.” So come on down developers of mobile and web-based  games; an innovative new way to get audiences discussing truly important issues.

So are you a producer? Are you a  game developer? Do you want to see your own series on  BlackPublicMedia.org? Be sure to get your applications in, our deadline for the $20,000 digital grant is approaching on September, 26th!

Two projects will receive $20,000 each to make their ideas a reality, and  these projects will launch on BlackPublicMedia.org in the summer of  2012! Don’t waste any time, download the guidelines, and submit your online application.

http://www.blackpublicmedia.org/for-producers/

Find out more about grants and funding in the grants and funding category.

To purchase a download of the Funding Your Dream Documentary seminar, click here.

Don’t forget to subscribe to this blog for up-to-the-minute updates!  Or follow us on Twitter!

Proper Claboard Use

The clapboard is also known as a clapstick, sound stick or slate board.  I’ve been on two television shoots recently for national, professional productions where the crew did not use the clapboard properly.

There are many types of clapboards.  Some are made of blackboard material, some are wipe boards and some are digital. The iPad has a clapboard app that I don’t like very much.  Most of them have a place where you can write in information about the production or takes.  It is common to see spaces that allow the user to add the name of the project, the take number, the scene name and some crew names.  I particularly like the digital ones that allow you to jam sync time code to each camera.

By far, the most important role of the clapboard is to allow the footage from each camera on a multi-camera shoot to be easily synced up in the edit room. The loud “clap” sound that is made when the stick slams against the board creates a visual waveform on the audio line of the editing system.  This allows the editor to easily line up all of the footage saving both time and money.  In order for this to really work, ALL CAMERAS must simultaneously shoot the clapboard when it makes the “clap.”  If you find yourself without a clapboard, you can just clap your hands together or slap a clipboard loudly.  As long as it makes a loud, sharp noise and all of the cameras are rolling on it at the same time, it will work.  If you need to “slate” the shot, in other words, share the written information on the clip board, you can verbally say whatever information needs to go with the take.

One common mistake are just showing one camera the clapboard.  Although each camera can hear the “clap” sound, seeing the visual of the stick hit the board on each piece of footage can really speed things up in edit.  Another mistake is clapping the board to each camera individually.  I’m not sure what that is supposed to accomplish.  I supposed if the clapboard has digital time code, it could help line up the footage but you will still miss that synchronized “clap.”  Either way, you end up frustrating your editor more than anything.  A frustrated editor is not creative nor very fun.

A word about the iPad clapboard app.  It doesn’t work very well for two reasons.  One, to make the clap sound, you have to push a little button. By doing so, you cover up the iPad screen which takes away your visual.  Two, the clap just isn’t that loud.  Sometime there can be too much technology.  An old-fashioned hand clap works better.

In some instances when the cameras are in shooting position, they are unable to see the clapboard at the same time.  For instance, one camera may be shooting an arrival from outside a house and one from inside the house. In that case, bring the cameras together, start rolling and “clap” the clapboard.  Then move back into position while the cameras are still rolling.  When all else fails, do the best you can.

For more production insights, visit the How To category.

Need Props For A Nice Looking Interview? Consider A Real Estate Stager.

From my desk in Annapolis, I recently coordinated an interview in Dallas with a well-known and respected figure at a museum that donated the use of an empty room.  Although I was not directing this shoot, I was responsible for making sure that the interview looked worthy of this guest. An empty room wasn’t going to cut it.  Whatever the solution, it needed to be quick, affordable and nice.

Everything was falling into place.  Our favorite crew members were available. The weather forecast called for a beautiful day.  And, the room we were given was large enough to accommodate a three-camera shoot.  There was just one problem.   The room was an empty echo chamber.  In order to pull off a broadcast quality shoot, we would need a rug (to keep the sound from bouncing all over the place), chairs that were not the squeaky leather kind that make fart noises when the sitter moves in them, and background props that would give some depth and dimension to the backdrops.  Lastly, all of the furniture and props had to go with the deep red color of the walls.

The museum didn’t have what we needed and neither did the sponsoring organization.  I googled theatrical prop houses but didn’t find much that looked helpful.  Somewhere along the way, the thought occurred to me to try a real estate staging company.  I had worked on a home sale series about six months prior and remembered home owners renting furniture to make their homes show better and sell faster. 

I googled real estate stagers in Dallas and found a couple of websites that were easy to follow and featured pictures of some of their work.  I went with Holly Bellomy of Dallas Real Estate Staging. The process was simple.  We spoke on the phone and then I emailed her a list of our needs, a photo of the interview room and a video link of past interviews set ups that we liked.  Within an hour, she emailed me some chair options and by the end of the day we had a contract in place.  For a very reasonable price, she brought chairs, a rug, a coffee table, side table, lamps and other side table accessories.  Holly and a staff member stayed for the duration of the set up period to make sure everything looked just right. 

Interview Set Up

The report from the crew was that the shoot went well; and, that Holly and her team were great to work with.  When I got a chance to view the footage the next day, I was equally pleased.  The host and guest were seated in a warm, elegant environment during their conversation.  If the need arises, I’d work with Holly again.  And if I get the chance to work with other real estate stagers in other cities for set props, I’ll gladly do so.

Sample Shoot Schedule Template

Here is a shoot template that I typically use. I change it to fit the needs of each shoot.  You can see a budget template in the sample documentary budget blog post.

You can purchase a downloadable template for ONLY $0.99!

This template can be changed to fit any scheduling needs.

                        

BIRTHDAY INTERVIEW SHOOT

January 21, 2011

 

SHOOT SCHEDULE
	Call time	Address	Contact info
LOCATION 1	9:00am	The Great Hall 000 Blank StreetCity, State, Zip Phone number	Joe Name, Hall Manager555-1234JoeName@greathall.com
Notes: Park at back loading dock.  Take elevator to second floor party room.Lunch will be catered at the location.

 

 

Crew/Talent Contacts
Name	Role	Phone Number	Email
	Producer
	AP
	PA
	Camera
	Audio
	Gaffer
	Make up

 

Friday, January 21:

9pm CREW CALL TIME: everyone arrive at the front door for load in.

9-10am Load in

10am-11:30am Set up for interview #1

11:30pm Make-up arrives and sets up

12-1pm Lunch

12:30 Guest #1 arrives and goes into make up

1pm Tape Guest # 1

2 pm Guest #2 arrives and goes into make up

2pm Re-set for Guest #2

2:30-3:30pm Interview Guest #2

3:30-5pm Tape b-roll

• Building exteriors
• People talking at party
• Cake (presentation, blowing candles, cutting, eating)
• Presents (presents stacked up, opening presents, reactions)
• Closing shot (like a hug as people are leaving)

5pm WRAP SHOOT, pack up and leave

You can purchase a downloadable template for ONLY $0.99!

This template can be changed to fit any scheduling needs.

                        

Field Etiquette

Field shoots are always hectic.  A lot has to go on at the same time in order capture the best footage to make the best show possible.  The audio, visuals, crew, talent, paperwork, set pieces, wardrobes, scripts, equipment and any number of other things all need attention.  It is easy to forget to do something small that could have a big impact on the production. 

I asked some of my production buddies for their most important dos and don’ts while in the field.  Here is what we came up with:

• Use a checklist to help keep track of what needs to get done.
• Label the tapes (with the date) as soon as you are done with each tape.
• Pay equal attention to the audio as you do the video.
• Turn off your cell phone while the cameras are on. You don’t want to be the one person whose phone rings or vibrates during the shoot.  Even phones on silent mode and affect audio quality.
• Always record “one more” for safety.  It is sometimes hard to tell if a take is good during the intensity of a shoot. An extra take will increase your changes for getting just what you need.
• Don’t forget bars and tone.  Yes, your editor really does use these things to help ensure that the color and sound of your footage is legal.
• Don’t forget room tone.  Your editor will love you.
• Bring water and healthy snacks.
• Put a lunch break in the schedule. Crews like to see that. Yes, schedules are tight but if your crew sees that you are considering their food and hydration needs, they will work that much harder for you.
• Be on time. Promptness is the first thing to consider if you want to be hired back again.
• Bring extra copies of every document.  Scripts, schedules, releases and log sheets often get lost in the shuffle.
• Bring pens.  You can never have enough.
• Come with more tapes or hard drive space than needed.
• Be prepared. The most important field work starts before you hit the field.
• Relax and have fun! This is TV not brain surgery.

Tape Labeling Etiquette

Yes, I am a tape labeling maniac.  I let every crew I work with know this about me.  I believe that every professional document is the ultimate communication device.  This is especially true for tape labels.  Yes, we are moving into a digital world where a lot of footage is moving around on drives.  But drives and discs sometime need labels.  And, tapes are not dead yet.  I don’t care about spelling. I’m not the best speller in the world myself but I do what to know what is on that tape.

Where did this labeling snobbery come from?  I lay the blame squarely at the foot of America’s Most Wanted.  I worked on the show early in my career and quickly learned the benefits of a well labeled tape.  At AMW, as at many places, the tapes moved between so quickly between so many people (producers, associate producers, shooters, transcribers, editors, production managers, etc.) that it was critical that all the pertinent information be placed on the label so that any person at anytime would know what was on that tape.  This point was driven home years later when I helped a production company sort through their archival tapes that were boxed and stored in a closet.  It was nearly impossible to tell what was what because the tapes were labeled with one word that meant nothing to anyone who was not there when the tape was shot.

Here is some basic tape information I like to include:

• Name of project, tape number, date
• Subject name, title, city
• Type of footage shot (interview, B-roll, stills)
• Technical specifications (frame rate and frame size)
• Audio info like what was recorded on each channel

If space allows, I’ll also include:

• Producer name
• Crew names
• Production company and telephone number (in case the tape gets lost in transit)

If I am working on a long shoot that will generate a lot of tapes, I pre-print labels with all the consistent information typed out.  I leave space to fill in information that will change from tape to tape like tape numbers and dates.

Now that I am supervising and executive producing more projects, I don’t go out into the field as much. But I do give a tape labeling demonstration every time I work with a new production staff after which I expect tape labels to come back full of significant information.

B-roll Basics

Where would we be without B-roll – that supporting footage that helps visually demonstrates the theme or thought of a piece and bridges interview bites, ideas and cuts?  If you’ve watched the news, you’ve seen B-roll.  Here is a funny video called “We Got That B-Roll” that makes fun of B-roll that is often over used in commercials: http://www.youtube.com/watch?v=SItFvB0Upb8&feature=player_embedded.

In most non-fiction productions, good B-roll is crucial to building a visually exciting and meaningful video.  I have been in the unfortunate position of getting into the edit suite and not have enough B-roll footage to cover the cuts. Or, not having enough to cover long, visually uninteresting interviews.  I’ve long since learned that whatever B-roll you think you may need, get it and then some. 

Before any shoot, I like to think about B-roll possibilities and list them out on the taping itinerary.  Locations scout helps tremendously. But even when a scout is not possible, a nice B-roll options list can be created from talking to the interview subjects and other people at the location.  I like to list out B-roll possibilities that directly speak to the subject at hand and then list out general shots that will work with the overall theme.  For example, if I am taping an interview about creating a family budget, I’ll specifically get a member of the family working on a spread or paying bills.  General B-roll might include family interaction like cooking together or walking the dog.  Now I have both specific and general shots that will cover whatever is mentioned in the script.  For a short 5-minute piece, I’ll get a minimum of 3 topic-specific and 3 generic activities.

As a producer, it is my job to communicate my B-roll wants and needs to the camera operator.  Freelance cameraman Matt Martin (www.mattmartin.tv) likes producers to give him as much information as possible about the projects as well as share any specific ideas prior to shooting.  That way, he can use the shoot time shooting rather than standing around trying to figure things out.  He likes to know the type of project, the length, the style and even the audience.  “If the piece is for a younger audience, I may use a lot of snap zooms and whip pans.  If it is long form, I may hold the shots longer.”  Matt likes to create a visual sequence by starting with an establishing shot, moving in to follow the action and then getting tight, detailed shots.  He also likes to know how much time will be covered by the B-roll.  “Needing 30 seconds of B-roll is very different from needing 3 minutes.”

Martin adds “A 30-second edit or b-roll cover time may need as many as ten shots to fill the time and tell the story. As a Director of Photography you can capture footage at 7-second intervals and have your producer covered if you have at least twelve clips in the camera. I try to cover my clients by putting heads and tails on the ends of each clip. This is done by adding 5 seconds of static (not moving the camera) at the beginning and ending of each shoot.  It’s very important and the editors will love you for it.”

Getting a variety of types of shots is important. I like to get different angles from bird’s eye to worm’s eye views.  If I am covering Marine Corps training, following the troops then letting them march out of frame can create the feeling of orderly movement.  A nice low angle of boots marching through the mud or an extreme close up of the Sergeant’s mouth barking orders with spittle flying all over can bring the audience into the moment. 

Sound is also important.  Many times, visual don’t make as much sense without the corresponding audio.  What’s a police car tearing down the street without the sound of screeching wheels?  A couple of common mistakes are forgetting to turn on the camera mic or talking while the camera is rolling.  In some cases, you may want to use a more power microphone to make sure you get strong, clean audio.

Now that the footage, including B-roll is shot, it is time to edit.  Having enough varied B-roll will help any edit run smoother.  As an editor, Gemal Woods (www.parktriangle.com), feels that you can never have too much B-roll.  “Get all the B-roll you can.” He says.  “You never know what the creative process will call for in an edit suite.”  After that, what he looks for in B-roll is project specific.  “If it’s long form, longer shots are good.  If I’m working on a promo piece, I’m looking for options over length. In that case, short impactful visuals work well.”  Woods, who is also a cameraman, believes some of the best B-roll is spontaneous and urges producers to leave enough time in the schedule to get those unplanned moments.

When you can’t get the B-roll yourself, you can always purchase some from archival footage houses or news outlets.  This is particularly helpful in demonstrating things that have happened in the past.  But whatever your project, spend some time before going into the edit suite to determine what you need and the best way to get it.

For more b-roll sources and information, visit the B-roll category.