Price vs. Value

Recently we've had the un-pleasure of mentally fighting back with potential customers of ours on the premise of price vs. value. This debate has been going on since I can remember, but we just got a comment from a pastor about our brand new New Year's Video called This Year. He says it was a "Good message, well done, but at 50 cents per second, way to expensive." It's a high end, TV commercial style sermon illustration that is only 0:44 seconds long and we're charging $20 (as we do with every sermon illustration). One of the big problems with this kind of thinking is we don't spend any less time or money on something because it ends up being shorter. In other words, we spend roughly the same amount of money and invest the same amount of time on something whether it ends up being 30 seconds or five minutes (And I promise you all that we are not in this to get rich but to serve God... you can check out our books :). Our intent with "This Year" was to make a very tight, powerful video that could be used by pastors to set up a great message about the coming year. A tongue and cheek style simple short for New Years that pastors can take in a lot of different directions.

This issue of Price vs. Value has become a big issue within the filmmaking community...the church filmmaking community that is. I personally see an enormous divide between the price of a product/service and the value of said product/service. Others I guess don't see it that way. Chuck Brady, from the online publication, Bizcovering, says "In simple terms price is the same as affordability. It comes down to whether or not your prospect has the means to pay for your product or service. Value on the other hand comes down to whether or not your customer thinks your product is worth the money."

So, if the folks on the price per second side of the isle are right, and it really does come down to value for the length of the product, then that means you MUST get more value for your $8.50 movie ticket to go see Transformers (run time of 2 hours and 15 minutes) than for your ticket to the 2005 Academy Award winning movie Crash (run time of only 1 hour and 47 minutes). Maybe you did like Transformers more, but was it because it was longer? Was Crash a worse movie or worth less at the ticket window because it was shorter?

Again, our heart in all of this is to serve God and His Church with our gifts. Not to gouge churches for money by overcharging for Sermon Illustrations. I know there are a lot of churches out there barely scraping by, but so are we, and we're all in this together, right?

Love to hear what you think. Post it. Email it. Blog it.

Rumor of Glory

I recently had the pleasure and good fortune to do a photo shoot with some good friends of mine, JJ Plasencio and Tony Hugh (aka - Rumor of Glory). JJ wrote the song "I Will Remember" that's featured in our video of the same name. He is the Music Director for Gateway Church and the former Bassist for Sixpence None the Richer. JJ and Tony are all around rad musicians. Anyway. The photos were for a unique double disc album they just put out. Part 1 of the album is "The Story." Part 2 is "The Glory." "The Story" is a concept album about a man's journey of faith and is essentially Tony's story. "The Glory" is what they call a compilation of musical psalms and is essentially worship music written with Seekers, New Believers and Prodigals in mind. To find out more about Tony's journey of faith and to hear some of the fantastic music God, JJ, and Tony produced, check out their MySpace page (Some of the photos I took are scrolling on the Myspace page).

Shooting Interviews

There are a lot of good, high quality church videos to be had out there. But sometimes there is no substitute for telling the stories of what God is doing in your home congregation. Video testimonies/interviews can be a great way to tell those stories. Here are some tips and things to think about to help you get the best results shooting interviews.

1. Don't Use the Camera Mic. The Camera Mic is terrible. Forget about it. You should never use the camera mic for interview audio. Your first choice should be to use a lavalier microphone, wired or wireless is fine, whatever you can get your hands on. Secure the transmitter on your subjects pants or belt and run the mic cable up under your subjects shirt to hide it. Then clip the lav on their shirt, test and adjust your audio levels and your ready to rock. If you don't have access to a lav mic, use a shotgun mic. Aim the shotgun mic at your subject, get it as close to them as possible and test and adjust your levels. As a last resort, you could set up a mic on a stand and place it on a table or something like that to interview your subject. It might look a little odd, but I promise looking odd is better than getting poor quality audio. And please don't tell me you'll fix it in Post. Lastly, always use headphones to make sure you're getting good audio. Just looking at the levels isn't enough, because the levels don't tell the whole story. That loud air conditioning unit or bug chirping isn't going to peg your levels, but it is going to be annoying on your audio track.

2. Lighting is important. A technique called Three Point Lighting is the foundation of all film and video lighting. If you don't know what it is, check out this brief tutorial at mediacollege.com. You won't always need or have all three lights, but knowing what they are and how they work will give you the foundation you need to think about and talk about proper lighting. Here are some quick tips to help you in the trenches:

• Avoid placing your subjects in front of window or sliding doors. Unless you have a Hollywood lighting package, it's really hard to compete with the sun.
  
• Use soft light. Soft light makes everything look better. Your subjects will thank you. If you're using a film video lighting kit, try putting some diffusion in front of the lens. You can buy diffusion in the form of gels (hit this link if you have no idea what gels are) from most photo/video stores. Diffusion spreads out hard light and softens it. For a great low cost soft light, you can use Chinese Lanterns or Paper Lanterns. They use household bulbs and you can find them for a few bucks at places like IKEA or order them online. Some Hollywood cinematographers actually prefer and use these low cost lanterns to light their films. Alternately, you can bounce film/video lights off a white surface to spread and soften the light. Point your lights at a wall or ceiling or pick up some white foam core at an arts and crafts store.
• Place a house or practical light in the background. This looks nice, creates a sense of 3D space and provides a backlight to give some added definition to your subject.

3. Focus and Exposure. Don't trust the flip screen for focus and exposure. If you do, you'll get burned, especially when you're shooting in a particularly bright environment where the sun obliterates the image on the flip screen. Use the flip screen for framing, shoot with it open, but don't trust it for focus and exposure. For focus and exposure, you would ideally use a properly calibrated professional video monitor located in a light controlled environment (read a black tent) and operated by a professional engineer. But this is the real world and you work for a church. Unless that church is Willowcreek, you probably don't have a professional field monitor. So... Use the viewfinder. Close the flipscreen, zoom all the way in on your subjects face, preferably eyes, focus, adjust exposure and then zoom back out and find your frame. Then, open your flip screen, get comfortable and you're ready to rock and roll.

4. Check your footage after the first take or two. It is a good practice to shoot a little and then check and make sure you're getting good audio and video. I was just shooting an interview the other day and, after the first question was answered, I rolled back and checked the video. Much to my dismay, the image was completely pixelated and the audio sounded like an alien signal in a Sci-Fi flick. Luckily, we hadn't shot the entire half hour interview and returned to edit it only to find it entirely unuseable. We made some adjustments, replugged some connections and tested it again. It worked the second time and it was smooth sailing from there. Check it. But, if you check takes after shooting for a while, always remember to que the tape back up to the end. Otherwise, you're going to be surprised and upset to find some shots missing in the editing room.

So, with a little bit of care and some basic equipment, you can shoot great interviews in house. If you have any questions about any of this or ideas or thoughts, feel free to comment. I'd love to keep this conversation going.

Tips For Outdoor Videography/Photography

We've been shooting a lot of people outdoors and on the fly lately. So I thought it might be helpful to offer some tips and thoughts on what I do to get good quality photos and video when I'm shooting outside in uncontrolled circumstances.

1. If possible, shoot either in the morning or in the evening when the sun is not directly overhead. The harsh overhead light from the sun in the middle of the day makes for hard top light and ugly pictures and video.

2. Position the sun behind your subjects and not in front of them. If it's really early in the morning or late in the evening and the sun is low, you might get some unwanted lens flare from this. Lens flare can be very cool, but if it's not what you want, you should be able to position the sun behind and to the side of your subject to eliminate this problem. Or, you can always hold something like a piece of cardboard up and in front of your lens to block out the unwanted light. Putting the sun behind your subject gives you a great backlight which helps pop your subject out from the background and aids in giving the image more sense of depth. You should still have plenty of light on your subjects face to get a great picture.

To get an even better looking image, you can use a reflector (or some white foamcore board that you can buy at any art supply store) to bounce sunlight back onto your subjects face. These techniques will give you much better results than putting the bright sun at your back and right in your subjects face. Besides getting a much more appealing image, your subjects will be able to look at you or the camera without squinting!

3. When the sun is up overhead and you have to shoot, place your subjects in the shade and try to make sure the background in also shaded or dark. By keeping everything in the shade, you'll have plenty of soft diffused light to get good images and you won't have that harsh overhead sun casting terrible shadows under your subjects eyes and causing all kinds of contrast issues.

4. Try and create depth in the frame. Film and video are 2D, two dimensional. Filmmakers and Photographers create the perception of 3D by drawing your eye into the frame. They accomplish this through the use of depth. A background that draws your eye deep into the frame gives the illusion of three dimensions. If you place your subject right up against a wall, it flattens the frame and highlights a 2D feel.

I pulled the following photo from my library. It's a photo I snapped of my family a couple of years ago. It's not a perfect picture by any stretch but the circumstances under which it was taken make for a good illustration here:
The photo was taken out in the open, in direct sunlight at about three o'clock in the afternoon. By placing the sun behind my subjects as best I could, I was able to accomplish a couple of things. Even though the light is somewhat top heavy because of the time of day, I was able to give them a nice backlight, which helps them look pretty and pops them out from the background. And, maybe more importantly, I was able to get my kids to have their eyes open in the picture. Move the sun in front of everyone and they're squinting into the light and you don't have anything but a harsh, flat front light on them and big ugly shadows cast from their eyes, their noses, etc. In a perfect world this would have been taken later in the day and I would have had an assistant there to position a reflector to bounce some nice, soft fill light into the subject's faces. But it's not a perfect world and we often don't work under anything near perfect circumstances. When you're running and gunning as we all so often are, you've got to work hard to do the best you can with what you've got.

Let me know if you find these tips useful or if you have any questions about them. I would be happy to answer any questions or debate people on the subject :).