Tips and Tricks for Great Promo Writing and Producing

As a long form producer, producing 30, 15 and 10-second promos used to seem like a chore.  But I’ve learned some tricks to help make effective promos while having a little fun.  Click here to see an example of a promo that I and the edit team put together for a series for short soccer demonstration videos with D.C. United for the on-demand channel Sportskool.

These are some things to consider when writing and producer a promo.

• Choose your best sound bites.  These sound bites do not have to be a complete thought but should carry a lot of feeling or action in a matter of seconds.  They can even be exclamations like “wow!”  The shorter the better.

• Choose your best shots, the “money shots” so to speak. Like the sound bites, these shots should quickly convey a sense of emotion or action.  Think about your footage and then ask yourself what is most “fun?” “What is most gripping?”

• Choose some driving music that matches the theme of your program, video or promo.  For sports themed promos, consider youthful music like rock or hip hop.  They offer a lot of hard beats to cut the visuals to.  If it is a comedy, try something fun or kitschy.  If your piece is serious or emotional, you may want something a little slower.  I must admit, choosing music is not my favorite thing to do. Most music libraries ask you to input key words like “solemn” or “funky” which may mean something different to me than it does to the person who developed the program.  Because I want music with a good sting at the end, I sometimes listen to the end first. If the sting is weak, I quickly move on to the next selection.

• String-out the bites, visuals and music to try to create a through-line.  Edgar Allen Poe said a short story should be about one feeling and one feeling only. He often went for fear. Similarly, the promo should be about one theme.  Don’t worry about the length of the string-out at this point.  Just see what’s working.  Ask yourself, what is missing?  What does a narrator need to say to connect the dots?

• Start writing the narration.  The narration should be brief and leave room to insert the bites. This is a time to really have fun and use over the top language.  For action packed promos, it is hard to go over the top with symbolism and clichés.  Pack them in! I even look up clichés on the internet to get some scripting ideas.  For quieter pieces, you may want to dial it back a bit but you still want to get the audience’s attention.  Also, write two or three different scripts to see what works best.

• Scratch out the narration and then see what works with the bites, “money shots” and music. Sometimes the theory seems like a good one in your head or on paper but when put altogether it doesn’t work so well. Don’t worry, use what works and build from there.

• Watch promos on television.  We often tune out when promos come on but pay attention to what you think works or doesn’t work.  Listen to the music and the pacing. What would you change? Are there promos that you would like to emulate?

Sometimes you cannot string out bites and “money shots” before writing the promo because of the workflow or lack of time. Don’t worry there are many paths to a good promo.  Find what works best for you and the project. And, by all means, try to have fun!

The Goodbyes and Hellos of Freelancing

Another freelance gig ends and it is time to say goodbye to my co-workers, clients, subjects, office and project… again.  Quite frankly, I had grown weary of this latest project.  And the client’s demands were sounding more and more outrageous.  But I liked my co-workers and I loved my office even more.  The truth is, even when I don’t generally like an assignment, it is still hard to say goodbye to a job that have given my all.

I usually miss the people the most.  When you’ve worked 8-to-10 hours a day with a crew or spent weeks and months getting to know your interview subjects, it is hard to just pack your things and leave without looking back.   I’ve said enough goodbyes to know that after the first few weeks of follow up about how is the new baby or did your house finally sell, chances are the contact will soon dwindle out.  But every once in a while, a strong connection emerges.

Whether crew or interviewee, I always send a thank you note because you never know when you may need to call on that person again.  I like to send notes via snail mail.  Who doesn’t like to hold an envelope in their hands and open a piece of mail that is not a bill?  For me, ending on a positive note has paid off.  There are several guest experts that I have booked on different shows and several former colleagues have offered me gigs.

On the other side of saying goodbye is saying hello –hello to new projects, new people and new schedules.  Every time I start a new gig, it takes a while to get the hang of the routine and, to adjust to the effects on my family and home life.  Sometimes saying hello means proving all over again that I can do a job well despite being the new kid on the block, being a mother or previously working on shows of a different type than what I’ve been hired to do.  I dislike this “pledge” period so much that the hellos have become almost as hard as the goodbyes.  On the other hand, I’ve made some valuable friends and contacts on most freelance jobs and try to concentrate on the prospect of making more.  Not to mention that on each job, I learn something new about the world, producing and even myself.

The best scenarios are the ones when I work repeatedly for the same client.  The goodbyes are a little less painful because I know that there is a good chance that I will be back.  And the hellos are always fun because I get to reconnect with former colleagues with whom I enjoy working.  However, it’s a bummer when I return to find a permanent staff member who I’ve come to rely on has said goodbye in my absence.  It rocks some of the stability that I’ve come to count on in my ever changing profession.

Protecting Your Ideas

A lot of people new to the television industry have recently asked me how to protect their television program ideas.  The short answer is you can’t.  As Paige Gold, a lawyer who specializes in copyright protection, puts it “ideas cannot be protected. If they could be, most creative commerce would grind to a virtual halt. However, the exact way in which the idea is expressed may be protected.”

Let’s face it, television show ideas are a dime a dozen.  We’ve all seen lots of the same type of shows in various forms.  Hoarders is airing on A&E while Hoarding: Buried Alive airs on TLC.  Who knows how many people had that same idea.  Once that “idea” is acted upon in the form of a one-pager, treatment, pilot or program, that you can try to protect the actual “work” or “product.” 

The first step that most people think of is copyright protection.  Copyrighting is never necessary though it does offer a written record of the creator and the work.  The filing fee starts at $35 and you can do it online at http://www.copyright.gov/eco/.  You can also register your work with the Writer’s Guild where it will be given an electronic date stamp.  This cost is between $10 – $22. For more information visit https://www.wgaeast.org/script_registration (East) or http://www.wgawregistry.org/webrss/ (West).  You can find a lot of good information about the television and film industries as well there.  However quite frankly, if your idea is in written form, emailing it to yourself also works.  Or, you can have the document notarized and then mail it to yourself.  The thought here is to put a date on the work so you can establish a timeline advantage. 

Walter G. Lehmann, a managing partner at Lehmann Strobel PLC, suggests registering “the most complete expression of the work — a pilot for example, rather than a one-page treatment”.  He warns that, particularly in the case of written documents, just because you register it doesn’t mean someone else hasn’t already done the same.  Every time you submit an idea to a production company, you run the risk of the idea being stolen and it is often easy for the companies to saythat  they already had a similar idea in the works.  Lehmann says “In some cases you will be asked to sign a submission release acknowledging that the production company or distributor may be developing substantially similar programming and waiving your right to claim copyright infringement.  Signing such a release may be the only way to get in to pitch at all, but it is a risk you have to take.”  The Lehmann Strobel website has a lot of great law documents that producers can use including a sample submission letter.  Visit the “Resources” page at www.lehmannstrobel.com and click on “Producers”.

The best way to protect your idea is to make sure it is attached to something that only you can offer such as exclusive access to talent, experts, characters or location.  For example, I know an historian who owns legal documents and photographs that have never been seen before.  No one can steal that from him.  Sandra Thomas, a producer in the Washington, DC area, says if you can offer something that few others have “sign them up exclusively to you for a development period of 6 months or more if you can get it.”  Other than that, she says, “pitch to people you can trust”.  And if someone does steal your idea, at least you know it was a good one.

Feed Your Crew

 I will keep this short and to the point. Please feed your field crew.  Feed your talent and interview subjects while you are at it.  You don’t have to actually spoon the food in their mouths or even provide the food, but at the very least, give them time to eat.

Your camera operators, sound techs, gaffers, grips, make-up artists, etc will all work harder for you if they see a “lunch break” indicated on the schedule.  And while you don’t have to provide the food, it also goes a long way to providing good will.  If you are not going to pay for the meal, at least have water and snacks available.  Provide some healthy options like fruit and nuts though cookies seem to be very popular. 

A note to younger productions assistants and AP’s: McDonald’s does not count as a meal.  Your crew usually consists of grown adults whose stomachs can no longer tolerate fast food after a morning of grueling work.  If you must go the fast food route, Subway or pizza is your best bet.  If you have an early call time, you may want to provide some breakfast snacks as well.  Coffee carafes are a good idea too.  And if the crew works late, dinner is appropriate.

There are two types of lunch breaks – the “walk-away” and the “stay”.  The “walk-away” means that the crew will find food for themselves away from the shoot location.  They are then responsible for getting back to the set on time. The “stay” means that food is provided for them at the location.  The “stay” gives the producer more control over everyone’s time.  For a stay lunch, you can cater the meal, bring a menu to set and then order ahead (my favorite) or run out and buy a bunch of sandwiches or pizza right before lunch break.

While an hour lunch is nice, it is not always necessary or convenient. Most of us can eat a meal in ten minutes. But let’s face it, most people work better with a little breather. 

I’ve been on shoots where the client has asked the crew to work through lunch at which point I insist on at least a half hour break.  The bottom line is human beings need energy to function and food provides that energy.  Without time to gas up, the crew can become sluggish and inattentive.  So put food into your shoot planning and you’ll have a happy crew and the best possible footage.

Acquiring B-roll

Are you looking for good B-roll? Well, the cheapest and easiest way to get what you need is to shoot it yourself – thus giving you ultimate control over the shots you will get.  But shooting it yourself is not always an option.  That’s when stock and archival footage come into play.  There is a lot of B-roll footage out there so here are some tips on how to get what you need.

First, figure out what type of footage will work for your project?  Do you need standard definition or high definition video?  Will you need long clips or short clips?  Are you looking for clean footage or something more graphical?   Next, consider how much time and money you are willing to spend to get the type of footage you want.

I suggest starting with internet search to pin-point the type of footage you need.  Keep in mind that it is often hard to find good footage for free.

If I am looking for footage from a particular industry, I will may search specific companies or associations for that industry to see if they have any footage available. They often do and are willing to share it at no charge.  Just look under the “media” or “press” section of their websites or give them a call.  I get a lot of good airplane and travel footage that way.

News outlets have some of the better B-roll though they can get pricey.  If you are looking for something a little more fair on the pricing side, try Gannett Video Enterprises (GVE).  They have 22 television stations in 19 markets. For a list of their markets visit http://gannett.com/web/tvstations.htm. They can fulfill many types of b-roll requests but are most commonly use as an archival resource. Their clients are usually folks who need B-roll for a specific story such as murder trials, severe weather, caught-on-tape, things like that.  Contact Jamie Romaezi at jromaezi@gannett.com or 703-854-7611. Tell them I sent you.

If you are looking to keep costs down try finding “public domain” or “royalty free” footage (meaning it is free to use)  Just take note that “public domain” or “royalty free” footage  often has a transfer or download fee.  Wikipedia has a nice list of public domain images – mostly photographs but some video footage as well. http://en.wikipedia.org/wiki/Public_Domain_Resource

A number of United States government organizations provide stock video footage that is in the public domain.  On some, like the White House website, you can download directly from the site. Others, like the Census Bureau website, require you have order the videos which they will send to you free of charge.  Here is a very small sample of what you can find on U.S. government websites:

• White House images http://www.whitehouse.gov
• People filling out forms http://2010.census.gov/mediacenter
• NASA footage http://www.nasa.gov/multimedia/hd
• Medical footage http://www.nlm.nih.gov/services/stockshot.html#govimage

The National Archives is a good place to look for older footage that is generally in the public domain (such as WWII, film shot by the military, Universal News reels, presidential speeches) if you are in the Washington, DC area or know someone in the DC area that can physically go search the Archives for you.  Most of the footage is free to use but there is a small transfer free. http://www.archives.gov/research/arc

I have recently stumbled upon Pond 5. It has a lot of shorter clips that individuals upload and then set the price.  They have HD footage, music and sound effects as well.  http://www.pond5.com

Here are some other recommendations that have come my way but that I haven’t tried yet.

• Public Domain comedy video has a lot of old school (black and white era) comedy video.  http://www.pdcomedy.com
• Videohive has a variety of B-roll footage and motion graphics.  http://videohive.net/
• Footagebank.com
• Getty Images http://www.gettyimages.com/Footage
• http://www.istockphoto.com/index.php pretty cheap video and other images
• http://www.footage.net
• http://www.thoughtequity.com
• http://www.archive.org/details/prelinger

And remember, always be clear about the cost and rights of the footage before using it.  Some footage is priced per clip while others are priced per second.  Some video may have a cheap fee for broadcast but may cost considerable more for internet use.   When in doubt, call or email the footage holder with your questions.

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

Writer’s Block in San Francisco

I am currently on a shoot in San Francisco.  I’m primarily here to conduct interviews and tape B-roll for a series of short videos.  In an effort to complete another project due at the end of the week, I am writing scripts in my “downtime.”

I have nothing against San Francisco, but I am jet lagged, miss my family, had to change rooms at 2:30 in the morning because of water dripping from the ceiling onto my bed and, if I may be blunt, my gastronomic system is a little backed up.  None of this has put me in the mood to come up with pithy and energetic host script copy.  So what to do?

I’ve devised a few tactics over the years to help me continue writing even when I really don’t want to.  A deadline is a deadline. So it’s handy to have a cadre of tricks to help bust through that block when necessary.

• Dance to fast music – This is my number one, go-to block buster.  I put on one song with a driving beat, sing loudly and dance passionately.  For me, this is a shortcut to meeting my muse because I totally leave the writing behind for 5-minutes and come back refreshed and energized.
• Take a chore break – If I am at home, I find it helpful to work on rhythmic activities like washing dishes or folding clothes while my sub-conscious works on the work. I almost always come up with an exciting breakthrough this way.  If I am in an office, I might clean my desk or do some filing, anything to keep my hands busy but my mind free.
• Walk away from the writing – Get out and take a walk.  This is another way to get the blood pumping and the words flowing.
• Go over the top – Write wild and crazy, over the top stuff.  Try alliterations or some rapping and rhyming. It’s fun and you just might come up with ideas that make the final draft.
• Check out a list of clichés – If I am having difficulty with a subject matter, I often look up a list of clichés on the internet.  Yes they are staid but they can also be entertaining. And even better yet, they can help me get a grasp on concepts in a focused and fun way.
• Get help – I have a couple of producer friends that I can call or email with a problem section and they help me work it out with a fresh eye.  I do the same for them. It’s kind of like having a writing elf.  And let’s face it, two heads are better than one.

In this particular San Francisco block, I’ve elected to write something else, something that I know would flow – this blog. It’s been fun and I’m feeling ramped up to continue the writing-for-hire.  If you have any other tricks let me know. I’ll post them and maybe try them next time. Happy writing!

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.

The Work of Indpendent Documentarian: An Interview with Emmett Williams

Just what does an independent documentarian do?  Where does he/her get  ideas?  How does he/she make a living at it?  I recently had a conversation with Emmett Williams, independent producer, to find out how he manages a career making documentaries.

I’ve had the opportunity to work with Emmett on several projects and am impressed with his scope of work.  His television credits include producer, writer, editor and camera operator.  His work can be seen on such national networks as The Discovery Channel, Animal Planet, TV Land and public television.  Emmett is also a song writer/performer, photographer, concert producer and journalist.  his passion for media and the arts is clear to anyone that has worked with him.  Emmett, a vegetarian, even ate seal meat to connect with his subjects during a shoot in Alaska.  What I’ve found particularly striking is his commitment to his projects and his ability to keep a sense of humor about everything his does.

As an independent producer, what type of productions do you produce/work on?
Mostly, I produce long and short form documentaries. Sometimes they’re ideas that I’ve come up with and sometimes I’ll partner with a non-profit organization to make a film about a topic that is important to them. For example, the film “Camp Twitch and Shout – The Movie”, which will be available online December 7, is a partnership between myself and the Tourette Syndrome Association of Georgia.

There are also a few online only projects that are in the works that are destined for YouTube or the Mission Man Media website, like a series of shorts about artists called “The Form Appears” and another series entitled “Everyone Has A Story”.

Finally, there are a few things I want to do that will be specifically for museums and galleries.

How do you find the projects that you work on?
It’s rare that I go out searching for stories to tell. Usually the stories just arrive serendipitously. For a documentary that will start production in January, the idea came from a conversation I had with a friend in a bar just a few months ago. There are an endless amount of stories out there that are waiting to be told, you just have to keep your ears open. I’m fortunate to be in some form of production on projects that will keep me busy through the first half of 2011.

How have you raised funds?
Every way possible. I’ve won grants, been funded by the organizations that I’ve partnered with, friends, family, the coin jar in my bedroom. Any way possible. I read somewhere that it takes 3 years on average to raise money for a documentary. You have to spread your fundraising wings as far and wide as possible.

I’m in the process of raising money now for a project in Africa and I’ve literally sent hundreds of emails, applied for grants all over the world and spoken with people on three continents trying to get it made.

Sometimes you work on freelance gigs for other people.  How do you feel about that? Do you limit the size and scope of freelance gigs?
Making documentaries is cyclical in that you make a film, then raise (beg) for money for your next one, so you have to earn money during that downtime in between projects. If I’m inbetween projects, I’ll preferably do some freelance writing or producing for television or for a company that needs something small, but I’ll do anything really to keep me out of an office.

BUT if someone from an office is reading this…and hiring on a temporary basis….

You often work as a one-man band producing, shooting and editing. Is there a lot of pressure to be responsible for every aspect of a project?
I really prefer working alone because I like the intimacy of just being one-on-one with the subject. I’ll often spend a few days just hanging out with whomever I want to interview before I even bring out a camera. I think if you are prepared ahead of time and really know your equipment it cuts down a lot on the possibilities of something going wrong. Of course, life would be easier with a crew as far as dealing with the equipment.  But for me, its worth the few times when I’ve forgotten briefly to turn on the audio or left something back at the hotel to continue to work independently. And the more you do it, the easier and more organized you become. The real key is a comfortable backpack and pants with lots of pockets. If you have those two things you’ll be fine.

Do you feel that there is a lot of room for creativity when producing a documentary?
The style of documentary that I like to do relies a lot on serendipity to be honest. I like to leave a lot of time to wait for things to happen.  Often, things are happening quickly and you are happy just to get the shot. While this style doesn’t lead itself to as much creativity as a fiction film, there is always a little room to put your own personal stamp on a film. It really takes sitting down before you start shooting and making a firm decision about the look and feel of your project.

I also think the most important aspect of making a documentary is the story and content. No matter the style, if you have those two things you can craft a strong project.

What is your favorite part about producing and why?
My favorite part is that moment that happens in most interviews where the subject finally lets their guard down and really opens up about whatever you are trying to get out of them. I really think everyone has a story and it’s my job to get it out of them.

What is your favorite project to date and why?
I’m editing the first of a four-part series called “Native Past, American Present” about the efforts Native Americans are making to hold on to their history, culture, and identity. I recently spent a month in Alaska on the project and everything about it was special. Incredible people, important stories, and beautiful landscape. That’s been my favorite so far, and I plan on going back next fall to spend two months working on part two of my series. And while I’m there I’ll be working with the Sitka Tribe of Alaska to teach filmmaking to Native children.

How did you get started?
I’d worked in television for about ten years when I decided that I really preferred working for myself, or at least on projects I really believed in. One day I decided that’s what I would do. In hindsight, it might have been less complicated to ease into documentary filmmaking instead of jumping into it blindly, but I knew what I wanted and somewhat knew how to get there. So, I just announced that I was a filmmaker and it’s grown from there.

Any advice for those seeking to do what you do?
Just do it. Cameras are dirt cheap, editing software most likely comes with your computer, and its free to put your stuff up online. There are an infinite amount of stories to tell. There are really no excuses if it’s something you truly want to do.

For more information about Emmett Williams and his work, please visithttp://www.emmettwilliams.com.