Video Production for the Performing Arts:
Creating Effective Videos
(Excerpted with permission from the Idaho Commission on the Arts)
The Video Work Sample: An Investment in Your Craft
The career of the performing artist in the 1990s is more challenging than ever before. Performers must market, promote and package themselves with more than head shots and press kits. A video work sample is no longer a luxury, it is a necessity. The professional video documentation of a performance can be vital to the performer's future when the only link between the artist and the grant reviewer or presenter is the videotape. The performer can bridge the gulf between the resume and the stage with a well-crafted video work sample.
When applying for grants or seeking employment, the video can make a significant difference. An informed choice of a video producer will allow performing artists to create a moving image that captures the essence of a live performance. Plus, the video also caries the advantage of capturing more than one performance, personal interviews, artistic statements and other aspects outside performance that can be promotional. It is a sales and marketing tool that has to stand up to competition.
Issues in Quality
In addition to the artist's work, three factors contribute to the quality of the product:
- Talent of the producer/director/camera operator creating the image
- Physical format on which the performance is captured (tape size/speed and camera quality)
- Talent of the editor assembling the final product
Producer/Director/Camera Operator
The quality of the work produced on any film or video format can either be enhanced or compromised by the producer/director/camera operator. This may be one or more person. The artist must take the same kind of steps employers take when interviewing potential employees. Ask for a resume; review previous work; check references; and conduct a personal interview.
In addition to the personal interview, take adequate time to view their video work samples and check references. This process is a paramount importance to the quality of the final product. Most video directors/camera operators are competent in their craft. However, the key to success is to find someone whom the performing artist believes can clearly communicate his or her ideas and vision in video. Capturing an artist's performance is an intimate undertaking. The performing artist and the director/camera operator must be able to develop a productive rapport.
Before shooting begins, meet with the director/camera operator as many times as necessary to ensure mutual understanding. Once the camera starts rolling, so does the budget.
Formats
Moving picture images can be divided into two major formats: film and video. Within each of these formats there are several options. The focus of this manual will be the video format.
The following definitions will help to determine the most appropriate option.
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Film
Film represents the highest quality format as well as the most expensive. Major motion pictures and most network television shows are shot in 35mm film. A copy of the edited film is made for theatrical release. The film version is transferred to videotape for broadcast, video sales and rentals. If a performer decides to shoot on film, he or she will undoubtedly transfer the completed footage to video for editing and other post-production work.
Sixteen millimeter film is used for lower budget feature film productions as well as many documentary and corporate/industrial films because it is easier to work with in the field. It is also considerably less expensive than 35mm.
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Video
Video is much less expensive than film and differs both in the look of the final product and the possibilities of that look. In video, quality may vary, due to the different video format options.
DIGITAL VIDEO referred to as "D-2" and is considered state of the art. It is expensive compared to other video options. Current equipment requires further refining before it becomes more widely used in production. Video, like all technology, is advancing rapidly.
BETA SP not to be confused with the format that lost the consumer wars to VHS a decade ago. Beta SP is considered top of the line as far as quality. For ten years, Beta has slowly been becoming the broadcast standard nationally and internationally. It is also costly — the day rate can be $600 to $1,200 per day.
1/2-INCH next in the quality line, although it is being replaced by Beta SP. It is a medium-quality format that can be easily dubbed onto VHS for distribution. Day rates for equipment and camera operators are less when 1/2-inch is used.
8MM AND VHS are at the bottom of the technological lineup. These formats are also known as High 8, Super 8 and Super VHS and are widely used by amateurs and consumers. They are the cheapest and offer the lowest quality for all the video format options.
Dubbing onto VHS is the standard for the end-user in the board room or living room. For this reason, most artists will need their originals dubbed onto VHS. The low quality of VHS refers to the creation of the original image on VHS. A video produced by D-2 or Beta SP which is dubbed onto VHS will be far superior to footage originated in VHS.
Video Production
Video production is a multistep process that involves both the client, in this case the performing artist, and the production company. The level of involvement each individual brings to the production will vary depending on needs, experience and budget. At each step, communication among everyone involved in the production process will help to guarantee satisfaction with the finished video work sample.
Pre-Production
The first step in creating a video work sample is pre-production. Good organization with this step will ensure smooth and economical use of labor, equipment and time.
During pre-production, it is important to view work by many different video production companies. Once a production company has been selected, the artist and the producer/director work together to plan the concept and design of the finished product. The performing artist should ask the selected producer/director to attend a live performance before discussion of the video production begins.
Discuss concept, objectives, research, format, length, script writing, location, direction, wardrobe, makeup and design, shooting, editing and quantity of dubs. Include a thorough discussion of budgets for each of these elements. Questions and issues may include:
- Who is the intended audience?
- How will the video be used?
- Is there more than one use?
- What is the overall theme or concept?
- What action is desired of the video viewers?
- Will the video be used with other promotional materials?
- What is the timeline?
- What costs are involved?
- How many people are needed?
The number of people involved in the production of the video work sample will vary according to work style and budget. In some cases, the director will serve as camera operator, producer and editor. Second and third camera operators may be hired; the director may not be the primary editor, and a separate producer may handle the production business and logistics.
Production
The second step in creating a video work sample is production. The plan organized in pre-production is put into action and various scenes are shot in a studio or on location. Narration and music are recorded for the video. Lighting is set up and all production workers are at the scene, from camera assistants to makeup artists.
Often, the most efficient production schedule may require shooting scenes out of the order in which they will appear on the finished video. If the video concept or design is complex, it is likely that it will take longer to shoot. Good footage will result when competent professionals make careful use of all aspects of the audio and video production.
To create a professional video work sample, the performing artist or group may have to alter the routine in performance. For example, makeup may need to be different to gain the best effect on camera or the actual performance may require some changes. It may not be possible to complete sufficient footage for the video during one performance. Depending upon budget, the director may want to do several takes of the same segment of a performance. When shooting, it is important to use lighting for the camera rather than for the performance. The production will require considerable patience from everyone involved.
Unlike film, the actual videotape used during production is the least expensive element. It is necessary to shoot more videotape than required for the final edit. Re-shooting at another time will be costly. Remember, not all footage will be used.
Post-Production
The final step in creating a video audition is post-production. At this time, the performing artist and the director/editor can choose the most effective moments in the performance and possibly enhance them. It is important to keep the original goal of the video in mind when the footage is edited.
First, the footage shot during the production is viewed and logged scene by scene on the appropriate equipment in an editing room. The best scenes are noted, and a rough cut is begun. Footage that is transferred onto a new tape is called offline editing. Scenes videotaped at different times are arranged into a new composition. A variety of compositions may be explored.
When the final edit decisions are made, the resulting videotape is called a rough cut. Turning the rough cut into a completed video work sample requires the addition of a variety of elements including graphics, special effects, titles, music and sound effects. A good editor can insert several elements such as dissolves (one image fading away as another fades in), wipes (a bar crossing one image replacing it with another), and other effects quite economically. Editing effects and sounds augment the visusal image recorded during the shoot to help create a pace or mood or provide information. This process is calledon-line editing. The result is a finished master tape from which duplicates will be made.
EDITING
Editing is as critical as shooting. During the rough cut phase, all footage is examined and the best or most appropriate sequences are arranged in a preconceived order. Communication between the artist and the editor is a key factor in the success of the video.
From a budget standpoint, the most essential phase of video production is preparation. The production process should be thoroughly planned from beginning to end. The editor and the performing artist must have a mutual understanding of the desired look of the finished video. Once the edit begins, an hourly rate is charged, so be prepared. Meet with the editor before the edit session begins to discuss all the details: it will save money in the long run.
Duplication: the Generation Gap
Image quality or tape quality are phrases used often by video producers and directors. The tape or film on which the image is recorded in the camera is known as the original. The original represents the best quality that can be obtained in any given format.
After an image is recorded on film, the footage is transferred to videotape. This process is called the film-to-tape transfer. After the transfer to the video format, the footage is then edited onto amaster tape, which is the edited version of the finished product. When using video, the original footage is edited directly to a master. Dubs or copies are made directly from the master for distribution.
Each time an image is dubbed from one tape to another, one generation of image quality is lost. The format of the original tape dictates the image quality of the dubs. The higher the quality of the format in which the image is shot, the higher the quality of the dub.
The edited master for the video will usually be completed on equipment compatible with Beta SP or 1/2-inch. The master must be duplicated in a format compatible with most videocassette players. In the U.S. this format is usually VHS.
The process of dubbing tapes is relatively inexpensive, and most video duplication businesses can process many tapes at a time. If possible — and depending upon the use of the tape — order a quantity that will be economical, such as 50. Good planning will help to determine exactly how many video work samples will be needed and what kind of distribution is necessary. Keep in mind that not all videos will be returned.
Videos for Grant Applications
Panelists or grant reviewers will most likely look at many submissions during one review session. Based upon the first moments of viewing a video work sample, they will immediately know if they want to look any further. The beginning of a video is like the beginning of a good performance, it must grab the audience's attention in the first few seconds. The first segment should be short and consist of the most appropriate footage. Panelists need to see the best, not necessarily the beginning, of a performance.
The grant application guidelines will provide instructions as to add the entire performance (or a portion of a very lengthy performance) to the tape after the footage is edited for grant submission. Extensive portions of a complete performance may be viewed by impressed panelists. Artists should not include anything on the tape they do not want the panelists to see or hear!
Remember, the panel may be seeing the artist's work for the first time. It is best to assume the panelists have no prior knowledge of the artist so be careful to include all pertinent information about the work to be reviewed. Be clear and specific when preparing the labels.
Tips for Success
DO
- Consider the market. Who are you trying to reach? What are their expectations?
- Target the content of the tape to meet your viewer's needs and expectations.
- Endeavor to capture as much of the spirit of a live performance as possible.
- Bear in mind that video is a different medium than a live performance and adjust accordingly.
- Remember that your tape does not have to proceed like a live performance.
- Keep it short and to the point.
- Find a production company you can work with over a period of time in order to maintain continuity in your video footage.
- Consider re-editing new footage in with previously produced material.
- Aim for multiple uses for your video work sample and long-term usability.
- Utilize the creativity of the producer. Remember, s/he is an artist too.
- Allow for some objective advice from the producer.
- Set goals and then communicate them.
- Think about your entire promotional plans before shooting.
- Coordinate the press kit with the video.
- Use fans for testimonials in your promotional materials.
- Capture enough footage to tell the story. Videotape is the cheapest part of the process. Avoid the need to re-shoot.
- Budget realistically and stick to it.
- Wait until you can do a good job if you can't afford a video work sample now. Set it as a goal.
- Plan in pre-production and keep to the original goals and budget.
DON'T
- Misrepresent yourself by using effects that you do not use on stage.
- Make a bargain-basement video- it will cost you money in the long run.
- Be afraid to cut, even some of your favorite pieces, if the final product demands it.
- Change video producers every time you shoot.
- Work with a producer who won't work with you.
