Interactive video just got a new look with the Interactive Video Browser Bar from Veeple.

I added the Interactive Browser Bar with four buttons to the top of this video about the New Tek VT5. The interactive browser bar looks sleek and classy IMHO. Better than that, it adds a highly-converting form of monetization to my video and extends my social network/customer service to all viewers.

For this particular post, the video about the New Tek VT5 is primarily just a vehicle to demonstrate the new look of the interactivity.

I have several other posts on this blog describing the features, specs and benefits of the New Tek VT5, which is a computer based desktop video production studio system you can use to equip a mobile production van or a TV production studio.  It’s fantastic, go check it out.  But now let’s talk video interactivity.

If you read this blog often, you know I am a BIG fan of video interactivity.  Adding interactivity is advantageous for both me as the video producer and for any viewers who choose to watch.

Advantages of Video Interactivity

For the video about the New Tek VT5, the interactivity is tied with a hefty commission.   There are two affiliate links to the product that appear as unobtrusive, but still obvious clickable links.

Research done by the Veeple company shows that clickable links placed inside a video such as my two affiliate links will get significantly higher engagement rates than standard ads placed off to the side.  The improvements can be quite dramatic.  Some Veeple customers have demonstrated conversion rates as high as 70%.  I’ve never gotten that high, but I have gotten up in the 30-40% range.

In addition to better-converting forms of monetization, the interactivity also allows me to give viewers additional information about the VT5 plus easy ways to email or follow me on Twitter.

In short, video interactivity gives me more diverse, creative ways to communicate and monetize. It gives viewers more control, choices and options.  The classic win-win.

A More Fully Functioning Communications Vehicle

In a sense, adding interactivity to a video is like turning it into a complete website, or at least a complete web page.  The interactive video can travel, a step beyond just sitting on one domain name trying to attract an audience.

The interactivity functions as both links to the rest of the net and as a repository for products like PDFs and Power Point Presentations.

Adding links inside of your video that viewers can click to travel to other sites blends together your message, your sales funnel, your customer service, your social networking, or any part of the web you wish.

Where Do I Get Interactivity?

The service I use to provide interactivity for all my videos is Veeple. Veeple is extremely easy to use and provides a very affordable, unique, all-in-one video hosting solution.

Veeple recently created a new look for the same functionality they have been promoting and developing for the past few years.   The new look is called the Interactive Video Browser Bar.  (IVBB)

They did not eliminate the “old” look and the VT5 video in this post contains both.  Each look has advantages.

The IBVV displays the interactive buttons as a row across the top, just like we’ve all come to expect from computer task bars and browser bars of all types.  The “old” look was more scattered and did not resemble anything quite as familiar.

Making the interactive buttons look like something we’re all more familiar with helps viewers know intuitively how and why they should use the buttons.

Anytime people can behave naturally and comfortably, with a sense of familiarity of the process they are going through, it will help minimize confusion thereby increasing the likelihood of a positive outcome.

In other words, more scores for the bottom line. 

The Interactive Video Browser Bar creates functional and impressive looking interactive links for your videos.  To try out this innovative service yourself, sign up for a free trial at Veeple.

Broadcast quality video production is easier and less expensive today than ever before.

A basic definition of “broadcast quality” could be a show done with multiple cameras and microphones, (or edited to look that way) along with chroma key and other digital video effects.

Thanks to high-powered computers, creating such a video can be done with a minimal amount of equipment and therefore a minimal budget.

Gone are the days when you needed a huge studio or editing suite filled with thirty or forty components run by ten crew members at a budget of five-million dollars.

One powerful computer with the right software can replace a good deal of those components and consolidate most every task inside of one computer.

That saves not only tons of money but tons of room.  You can get by with a MUCH smaller space if you don’t need all that stuff.

This makes videotaping in remote locations easier and more practical.  So even if you are way out in the boondocks, broadcast quality video production takes less money, less space, less equipment, less personnel, and less effort than ever before.

Of course, you can also put the same equipment in your basement and still have room for the pool table. 

There are a growing number of different software choices that essentially turn a high-powered desktop computer into a very compact TV and video production studio.

Probably the single BEST solution for setting-up a desktop video studio currently on the market is the VT5 by NewTek.  It runs a bit under $9,000, and that does not include the actual computer.  The VT 5 includes a huge video card, a breakout box, various converters and accessories.

In addition to the VT5, a complete operation will  need cameras, mics, lights,  monitors, play/record decks, and cables.

NewTek has been developing innovative digital video editing solutions for a very long time.  The VT line has met with great success.

How well I remember New Tek when they first came out with their revolutionary Toaster.  Baaaaaaaaa!  (It had a fluffy sheep wipe!  Honestly one of the most useless digital effects I can think of for the kinds of videos I made. )

A longtime working buddy of mine from my TV News days today operates a remote mobile production van that uses a NewTek.   The van is owned by the country government.  He works as their Video Production and Studio Manager.  The county uses the Remote Production Van to create incredible, high-quality shows of county sponsored events: parades, fairs, school events like graduations, dedication ceremonies, and sporting events.  The van stays busy.

My buddy, Newt Danley, was nice enough to show me around the van and describe how he has the equipment set up.  I made a video about it for my readers here at Video Production Tips.  The video shows you what it takes today to create videos that rival what those in the big leagues have been doing all these years with their huge budgets.

Now, even low to medium budget groups can take advantage of desktop video production and create broadcast quality programing.

If you are interested in studio-quality video production, whether you want to stock a mobile production van for remote locations like my friend Newt, or  use the same equipment to set up a stationary studio, the NewTek 5 is probably the single best way to do it given all the similar products on the market.

The other products I have seen are not nearly as versatile or robust.  You can buy the New Tek VT 5 from B&H Photo.

Below, I have copy/pasted some sales copy off the NewTek website, giving the product’s features, requirements and specs.  Below the NewTek copy, I have put a list of additional equipment Newt uses in the mobile production van.

Now go forth and make video!

Thanks for reading Video Production Tips.

Lorraine Grula

COPY FROM NEWTEK:

The VT 5 Live SX-SDI Bundle from New Tek is designed to function as a complete television control room for your desktop. It is intended for use in live and post-production video studios. This model also includes the 8-input SX-SDI switching breakout box.

It supports NTSC and PAL standards. Other features include network-style, live, virtual sets and specialized tools for high-end post-production work. It offers (24) inputs with hundreds of real-time transitions and 3D DVEs. The solution also includes a character generator, a 2D video paint and animation system, real-time keying, and a digital disk recorder for integration of captured video clips.

Some of the benefits and features you will gain with this system include:

• NewTek LiveSet effects engine
• Completely integrated live virtual set system
• LiveMatte provides sophisticated keyer previews
• Optional LiveControl LC-11 switcher surface
• Optional TimeWarp replay and slo-mo controller
• 8-input SX-SDI switching hardware
• Optional LiveText remote titling and graphics software
• Optional DataLink real-time linking and display of external scores or files
• Live streaming in Flash, Windows Media or VC-1 formats
• On-screen Video Monitor supports any resolution/aspect
• Monitor offers action safe/title safe overlays
• Still Frame option on capture panel
• iVGA Recorder captures remote client displays as video
• DDRs support different clip aspect ratios
• DDRs support file formats listed below, including Apple QuickTime
• VGA output to projector includes real-time image enhancement
• VGA supports remote applications, such as LiveText
• Record show in I-frame MPEG-2 with optional MP3 audio
• Clock now on main interface
• Create and export title templates for VT[5] or TriCaster
• Title templates can be placed on Effects bus
• Render scrolls/crawls to any SpeedEDIT formats (HDV, etc)
• Audio/Video drivers support Windows Media Encoder and Flash encoder
• AVI wrapper has been re-written to support more project features
• SpeedHQ codec supports
• 4:2:2 video with and without alpha channel
• 4:4:4 video support with and without alpha channel
• Complete multi-core and multi-CPU decoding
• Customizable UI colors in Preferences
• Significantly improved readability across all modules
• Windows Vista UAC support
• Standard (non-admin) windows accounts supported

The VT[5] features live switching and Web streaming of up to 24

cameras, and now includes LiveSet™, NewTek’s proprietary live virtual set technology that allows users to implement multi-channel virtual sets in a live environment with unprecedented realism and video quality.

VT[5] also includes advanced new keying capabilities, integrated SDI switching support and automated clip playback, with simultaneous output to video, projector and Web stream. VT[5]’s extensive HD post production capabilities include sophisticated real-time, non-linear editing, video painting and a full-featured animated character generation package. VT[5]’s real-time, uncompressed video processing with component and SDI output delivers unsurpassed video quality. The optional Serial Digital switcher adds an additional eight SDI inputs and SDI routing functionality to the new VT[5] system.

Live Virtual Sets

NewTek’s proprietary LiveSet™ system in VT[5], allows separate virtual sets to be assigned independently to all switcher inputs, including all cameras and DDRs. In addition, each input has an independent LiveMatte™ matting module that eliminates the need for expensive hardware for each source connected to the system. Each virtual set supports virtual cameras with multiple angles and zoom levels, with support for secondary video sources for on-set virtual monitors.

All effects are rendered with unprecedented photo-realism, including reflections, refractions, shadows, bump maps, and sophisticated filtering.

Additionally, the advanced new keying capabilities included in the LiveMatte™ technology enable refined previews of mattes for the precise isolation of color, edge and spill for the sharpest possible results.
Features

• Live Switching
• LiveSet™ Effects Engine
• Live Virtual Sets – multiple angles and multiple focal lengths per set
• Upstream effects row
• 8 Component inputs
• 8 Y/C inputs
• Up to 24 Composite inputs
• 8 Serial Digital inputs (with SX-SDI)
• DV input Support
• Real-time FireWire input or output
• Automated Audio Mixer
• 4 Component outputs
• 4 Y/C outputs
• 5 SDI outputs (with SX-SDI)
• Preview output
• 4 Composite outputs
• 3 RS-422 machine control ports
• Real-time, advanced chroma keyer
• LiveMatte™ keyer previews of color, edge and spill
• Cue mode in Digital Disk Recorder
• 200+ digital transitions
• Dual GPI In / Out
• 8 Internal Tally light controls
• Background generator
• Internal Genlock
• Audio Mixer
• Mix 8 stereo live and 8 4-channel online audio sources
• 4-track audio: 4 discrete channels of audio in and out
• Supports SDI embedded audio (with SX-SDI)
• Talk-over, reduces mix levels for mic inputs to talk over
• 4 adjustable XLR balanced mic / line inputs with Phantom power
• 6 stereo unbalanced audio ins from live sources
• 8 stereo inputs from computer sources
• DV and SDI audio inputs
• Floating point audio with distortion-free audio levels
• EQ, balance, mute and mono for all 16 audio inputs
• Aux Mix: stereo aux send and aux returns for external sweetening
• Automated mixing: transition between audio presets
• Calibrated audio meters
• Audio-follows-video option
• Manage your output mix with Input Pass Thru
• PA Mix Out: for live PA or control room feed
• Balance on all inputs and outputs
• Digital Disk Recorder
• Multi-format, multi-standard on-screen tape deck
• Compressed or uncompressed playback
• Detects clip aspect ratios for playback
• Play back a single clip or list of clips
• Cue clips to roll when triggered by Switcher
• Real-time transitions between clips
• Count up or count down project time or clip time
• Operate multiple DDRs simultaneously
• EDL import/export (Grass Valley, CMX, Sony, Excel)
• Proc Amp
• Brightness
• Contrast
• Hue
• Saturation
• U Offset, V Offset
• U Gain, V Gain
• Track Preview function
• More than 70 adjustable parameters
• Calibrate computer sources as well as analog sources
• Auto Calibration for 75 IRE bars, 100 IRE bars, video pass-through
• (requires SX-84)

Video Scope

• Full-frame data
• 60 fields-per-second
• Monitor Program or Preview
• Waveform of Y/C, Y, C, YUV or RGB
• Vectorscope at either 75% or 100% Chroma

Video Monitor

• Fully fielded on-screen playback
• YUV video display
• Monitor Program, Preview, Key / Aux or DSK buses
• Display supports for 4:3 and 16:9 aspect
• Underscan mode
• Zebra stripes for 75 IRE and illegal video
• Proc-Amp for matching computer display to reference video monitors

CG Designer

• WYSIWYG text and graphics editing
• Save projects or pages
• Display Program output within CG interface
• Use any installed TrueType™ font
• Create Title Templates
• Export Title Templates
• Assign a Title Template to any source in Upstream effects row
• Save pages as 32-bit images or animations
• Soft shadows
• Create graphic objects (boxes, circles, splines)
• Instantly save or recall text styles
• Powerful drawing tools

Title Templates

• Easy creation of live pages
• More than 80 styles
• Customize/create new templates in CG Designer
• Export any title to upstream effects

iVGA

• Import external computer displays as switcher source
• Queue up to 3 iVGA sources
• Client provided for Windows and Mac systems
• Software-based scan conversion to video resolution
• Dedicate iVGA output to connected projector
• Digital Video Effects:
• More than 200 real-time transitions
• Expansions
• Wipes
• Curls
• Trajectories
• Fades
• Overlays
• Rotations
• Compressions
• BordersSpeedEDIT

World’s Fastest Video Editor

• SD and HD editing
• Real-time HD editing and previewing
• Resolution independent
• Frame-rate independent
• Fully multi-threaded for dual-core and quad-core machines
• SpeedHQ™ codec with 4:2:2 colorspace and alpha support
• Integrated Timeline and Storyboard editing
• Unlimited layering in real-time
• 3D control of position, size and rotation of layers in real-time
• Spline-based movement of all animations
• Unlimited undo, saved with project
• Real-time 3-wheel color correction
• 4-band color selection
• No rendering of complex projects required
• Create subprojects within a project
• VST Audio plug-in support
• CG Post™ for moving text
• Project Backup Wizard
• Time-code overlay filter
• Real-time Targa sequence playback
• Multi-format and multi-standard editing
• Real-time playback of compressed and uncompressed clips
• Real-time FireWire in and out
• More than 200 real-time transitions
• Real-time slow motion and reverse
• Real-time chroma and luma keying
• Real-time high-quality scaling of graphics
• Real-time video and audio filters
• Real-time audio mixing of unlimited layers
• 3D audio positioning
• 12dB of audio headroom prevents digital distortion

Deck Controller

• Control external decks from your VT[5] desktop
• Supports multiple RS-422 and DV decks
• Interfaces with batch capture deck lists and configurations
• Jog and shuttle support
• Record allows user to generate time code settings
• Aura Video Paint™:
• Amazingly fast 16-bit paint engine
• Paint over live video
• Four-point pixel tracking
• Color isolation
• 3D compositing
• Stroke recorder
• Wide range of text controls
• Instantly use a graphic’s alpha channel
• Animate text along a path
• Native DV support
• AVI and QuickTime audio support
• Apply Photoshop® filters to any animation

VT[5] Supported File Formats

Video Formats

• AVI
• MPEG-1
• MPEG-2 (program & transport stream)
• HDV
• QuickTime (with alpha support)
• MPEG-4 (including iPod and PSP)
• Raw DV
• DVCPro 50
• DVCPRO HD
• Image sequences
• Output to Flash

Graphic formats

• JPEG
• PNG
• Targa
• Tiff
• BMP
• WBMP
• PCX

Audio Formats

• WAV
• MP3
• AU
• SND
• AIFF
• WAX
• DIF

LIST OF ADDITIONAL EQUIPMENT IN THE MOBILE PRODUCTION VAN HIGHLIGHTED IN THE VIDEO. When the video quotes a budget of around $30,000 for the whole set-up, it includes the monitors, record decks, etc in the following list.  $30,000 does NOT include the van itself. 

Preview monitors-2 racks of 4 each.  Datavideo TLM 404 4- inch monitors (Only one set of 4 was installed when we shot video).

Computer monitors-2 Marshall V-R151P rack mounted 15 ” monitors.

Program monitor-One Magnavox 15 ” free-standing monitor bolted to metal shelf.

VCRs-One Panasonic SD-255 (main)

DVC Pro:  One  Panasonic AJ-D230H (back-up)

DVC Pro Slo motion- One Panasonic PV-HS2000 (three at time of taping. )

Audio mixer-Australian Monitor(brand name)TX6000 (small, rack mounted)

Back-up batteries-2-APC XS-1500

Field Cameras-Four Panasonic AJ-D215 w/studio configuration

Scoreboard cam-Panasonic PVG-S120 (consumer cam)

Tri-pods-Heads- Bogen 3066  (Manfrotto)

Tripod Legs- Bogen 3182

Video cables are BNC

Audio cables are XLR

One of the most frequent questions I get is, “What kind of video camera should I buy?”

Of course  I can’t tell any one person precisely which camera to buy but I can tell them this.  

Video cameras can be broken down into four basic categories.  Which one is right for you depends on:

• Do you want simple or do you want to get artsy?
• What are your technical demands?
• What’s your budget?

Those should be easy questions to answer.  Let me define the four categories and you’ll be able to see clear differences on which you can base your selection.

1. Webcams/Flip cams come first.  They’re both drop dead easy to use.
2. Consumer grade cameras, which are still fairly easy to use but give you a lot more features than a web or flip.
3. Prosumer grade, which are more difficult to use but give you lots more artistic control.
4. Professional grade cameras which are sturdier, higher quality versions of the prosumer cameras.  Professional grade cameras are fantastic but you do not even need to THINK about using one unless you are really doing a high level project.

What are the Differences?

Believe it or not, the differences you find in these four levels of camera are not  drastic differences in the final image quality.  Yes, the image quality improves as you go up but really, some of the tiny little cameras get a great picture.

The biggest difference with higher grade cameras is that the higher you go  the more independent, manual control the camera operator has.  Higher grade cameras have more features that affect the picture quality and they are all under the videographer’s control.  That, plus high level cameras have better individual parts that are higher quality and sturdier, especially the lens.

Prosumer Video Camera

Now, having manual control over all the controls is only a benefit for someone if they WANT to get artistic and have that kind of creative control. Certainly lots of people do.  I sure love having that sort of control.  But if you are not interested in that sort of thing, it can become a hassle and just something else to learn.    For simplicity, you can stick with automatic functions and it will do ok most of the time and you do not have to worry about it.

So if you are looking for easy point and shoot, you do not want a professional grade or prosumer grade.  A consumer grade is going to be easier to use and still get a quality picture, maybe even as good as a higher level camera.

Consumer Grade Video Camera

Most consumer cameras will be totally automatic, have a decent sized but simple 10-1 zoom lens and probably a few additional features such as a built in light, image stabilization, and multiple modes for different conditions.  Consumer cameras pack a lot into a little body.  Their biggest drawback is they do not usually have any place to plug in a separate microphone so you are limited to using the onboard microphone.

Now the very simplest and cheapest grade of camera to use is the web cam or flip cam.  These have become so popular and for very good reason.  They are drop dead simple to use.  A web cam of course has to be used with a computer, but a flip cam can be put in your pocket and taken anywhere.   They often get remarkably good image quality for their size.  But their ease of use is their best feature because that is a HUGE benefit in so many ways.  I love them.

The drawback to these cameras of course is that they have fewer features. Some do not have zoom lenses at all, and if they do they might just be a small 2:1 zoom.  You certainly do not have features like built in lights or image stabilization.  Some are fairly high resolution, even HD, but some have pretty crummy resolution.  My web cam does although it is a top of the line.  But that’s ok. I just look at it as a good thing because the low resolution knocks at least ten years off my face!

Flip Camera

So, with that information, you can use the four grades of camera guidelines to figure out what grade of camera you want, and then select one that meets you needs within the grade.

For more information on cameras and what all the features and specs mean, sign up for my free home study course.  And part of that course, it’ll be the third email you get after you sign up, is quite lengthy about all the technical specifications of video camera.

Thanks for reading VPT

Lorraine Grula

B&H Photo has always been one of my favorite places to buy video equipment.  They carry EVERYTHING and their prices are great.

The newly released Panasonic AG-HPX300 HD Camcorder is getting rave reviews.  People are calling it a game changer, a camera so advanced that it is re-writing the rules about what classifies as quality.

The AG-HPX300 is for pros or really serious amateurs.  Panasonic set the list price in the U.S. at $10,700.  B&H Photo is carrying it right now for significantly less, $8,495.

No doubt this camera is worth the money if you are a serious videographer.   It records in multiple formats; Panasonic calls it a Varicam.  With just a simple flip of a switch you can record in any one of about half a dozen formats.  That in and of itself is amazing to me.

One format the camera shoots in is Panasonic’s premiere recording format, AVC-Intra. In this format,  the camera has the ability to shoot full-raster HD 1080p footage at 10-bit 4:2:2 color, something totally unheard of at this price-point.  The resulting video is incredibly crisp.  Panasonic claimes this is twice the capacity of the popular DVCPro format specs.  I’ve shot on DVCPro a lot and always thought it gave an incredible pictrue, so if this is truly twice as good, that’s saying a lot.

The AG-HPX300 records on a P2 card, which is an advanced type of memory card.  Right now, they come in sizes up to 64GB and soon Panasonic promises 128GB cards.  Either one is an absolutely huge capacity.

Even more amazing is the fact that you can edit straight off the P2 card.  You do not have to transfer it to a computer first, although you can if you want.   This feature should would be a time saver.

The AG-HPX300 comes with a Fujinon 17x lens.  As with any camera, what lens it has is going to determine much of the quality and versatility.  For the price range, a Fujinon 17X is tremendous and way beyond what I might expect.

The image sensors are 1/3 inch 3MOS chips and you have a variable shutter for better quality slow-motion shots. Every feature you would expect in a professional grade video camera is there.

Panasonic has always been one of my favorite brands of video cameras.  This camera truly is innovative.  Saying it is the best video camera EVER is probably an exaggeration, but it sure is a beauty.

Read these specs and drool!

If you want to make videos frequently, setting up a small video studio might be the most cost effective way to go about it.

Making video in a studio is easier, faster, and therefore a lot less expensive than making video using field production method, which by definition uses only one camera.

Not only would a studio be set-up be more permanent, and therefore you do not have to take the time to set-up and tear down every time you use it, but studio production is edited live, on-the-fly, which saves HOURS of post-production editing time.

How would you go about setting up a simple video studio?

Here is some advice and a list of the basic equipment you would need.

A typical TV studio has three cameras on tripods with wheels for easy maneuverability.   The wheels are part of a tripod stand known as a dolly.  With a good director and decent camera operators, three cameras could be made to look like one-hundred, so you do not really need more than three.

All three of the cameras are then hooked into a piece of equipment known as a video switcher.  (Today you can get computers that operate like video switchers, but for the purpose of this article, I will just use the term video switcher.)

The video switcher is used to edit your production live and this is the reason why studio production is so much faster than field production.  Post production editing is extremely time consuming.  Depending on the complexity, an hour-long program could easily take ten to even one-hundred hours to edit.   At a professional level, edit time is estimated at one hour per finished MINUTE.

An hour-long studio produced program on the other hand is finished and ready to go at the end of the hour-long taping session.

Any and all equipment that creates a visual element is hooked into the switcher, not just the cameras.   A graphics generator, a video tape machine or DVD player, a special effects generator.  The director then adds and removes whatever video elements he wants, when he wants, using the switcher.  Think of it as functioning like a router.

A DVD player or videotape player is used to run video clips during the show.  Next time you are watching a football game, realize that all the player profiles and so forth are pre-edited videos being played on a bank of machines that are fed into the switcher.  Or, when you are watching the news and they switch from the anchor person to a video of the crime scene, that crime scene video is also a pre-edited video being played on a separate player.

Audio is handled the same way with it’s own switcher, which is usually called an audio mixer.  All microphones, all music/sound effects generators, all audio sources of any kind are plugged into the audio mixer.  The audio engineer mixes, adds and removes whichever audio source is appropriate.

close up of video switcher

The output of both the video switcher and the audio mixer are then plugged into whatever device you are using to record your finished show.

Each video source also needs its own monitor.  If you’ve ever noticed the shots of the control room during a news show there is an entire wall of monitors.  That’s not just there for show.  The director needs to know exactly what the video source looks like before he punches it up and the only way to do that is for each source of video to have its own monitor.

A video studio usually has lights mounted on the ceiling, hanging off a metal grid.  If you are setting up in a house this might not be feasible.  However you can get small, simple ceiling mounts that do not require a grid.  Or you can use lights on a stand, same as you would out in the field.

The control room should be as sound-proof as possible.  The people working in the control room need to have the freedom to talk to each other without being picked up on the microphones being used in the studio.

A head-set system is  used for the crew to communicate.  Everybody wears one.  This way, the folks in the control room can speak to the crew in the studio without interfering with the audio being recorded.  The studio crew usually has to come up with some kind of “puff code” or “tap code” so they can answer back without actually saying anything.

In summary, here is a list of the standard equipment needed for a TV production studio:

• Multiple cameras
• Tripods with dollys for each camera
• Multiple microphones
• Video switcher
• Audio switcher
• Lights
• Light mounts
• CD player
• DVD player (or videotape player)
• Graphics generator (AKA titler)
• Cables
• Head set communication system
• Monitors for each video source

Once you have your studio set up, you can crank out polished, professional looking videos quite easily.  If you are planning on making LOTS of videos, going to the trouble and expense of setting up a studio can pay off in the long run.

For more information on this subject, here is another blog post.  The post itself is quite similar, but there are tons of comments on that post which provide additional insight.

Thanks for reading Video Production Tips

Lorraine Grula

Buy DVD players with Shopping.com’s widest choices of home electronics.

An easy-to-use video camera is a pleasure to behold.

One that is easy, small, CHEAP, yet high-quality is a double pleasure!

Cheap and high quality usually do not go together, but in this case, they sure seem to.

Let’s talk about the Kodak Pocket HD Flip Style Cam With and EXTERNAL MIC JACK for only $179.00.

External mic jacks usually only come on higher priced, larger cameras.  An external mic jack is a highly desirable feature because it allows you to plug in a hand-held or lavalier microphone and get much high quality sound.

I always tell people that if they are gong to be videotaping people speaking, a supplemental microphone is the best way to do it.  Problem is, you can not use a supplemental microphone if your camera has no where to plug it in.

In addition to having an external mic jack, the Kodak Zi8 manages to pack a ton of other features into this pocket-size video camera.   As an HD model, it has 1080p recording, along with face tracking, image stabilization,  and a 2.5-inch LCD.  There is a built in USB connector so you can easily upload your unedited videos to You Tube or FaceBook.

The Kodak Zi8 records onto an SD card, expandable up to 32 gig, which will get you about ten hours of record time.

Only problem with this little beauty is that if you want to edit your video,  you will have to convert it as this camera records in a format most video editing programs will not accept.  However, you can upload to the web without editing.

At $179, the Zi8 comes in $20 under the Flip UltraHD yet it has a higher recording resolution plus the external mic jack so I would consider it a much better buy.  Can’t get it yet though, the Zi8 is going to hit stores sometime in September.

My Blog Business Model from John Chow on Vimeo.

There are lots of reasons why I am posting John Chow’s video on how he makes forty thousand bucks a month blogging here on my blog, Video Production Tips.

One, is because the information is stop notch and something of great interest to me and my readers here at VPT.

Second, is because in spite of the quality content, most of the comments where I found the video were complaining like crazy because of the poor quality of the audio and video.

Many of them said they refused to watch the video because they could not understand what Mr. Chow was saying.

That’s sad, but entirely predictable.  Crummy sound is such a turn-off.  Very few viewers will bother to strain their ears to try and decipher bad audio.

People are more forgiving of poor quality video, but not much.  I also found several comments critical of the poor lighting.

One disgusted and impatient person went so far as to say that if Mr. Chow did not know how to light or mic a video, he had no credibility.    None.   On any subject.   So this person completely blew off the incredible information Chow had to offer simply because the audio sounded crummy and the lighting looked bad.

Wow!

That is extreme to say the least, but quite common.

I’ve said it a million times but I will say it again.

IF THE TECHNICAL QUALITY OF YOUR VIDEO SUCKS, PEOPLE WILL NOT WATCH IT AND YOU WILL LOSE WAY MORE CREDIBILITY THAN IS FAIR.   AUDIO QUALITY ACTUALLY IS MORE CRITICAL THAN VIDEO QUALITY.

How to Fix It?

The quality of this video could be improved dramatically if the folks shooting it has used an external microphone plugged into the camera and placed close to Mr. Chow’s mouth.

Or, an even better option, would be to plug into the sound board being used at the conference.  This way,  you record a direct audio feed.  Doing this usually requires a small adapter to knock the audio level down about 50 decibels from a line level feed to a mic feed level.  I have heard this magic gizmo referred to as an audio resistor, audio pad, line level adapter and decibel pad.  An XLR pad is about the size of your index finger.

Either one of these options would require a camera that has an input for a microphone.  Tiny, cheap video cameras DO NOT have an audio input.  Better cameras do, and this is exactly why a mic input is a critical feature to look for when buying a camcorder.

Audio inputs will either be a small stereo plug (less expensive) or an XLR audio input.  (more expensive.)

XLR Audio Cables

Whatever kind you have, make sure your microphone plug and your camera match.  If not, adapters of all kinds are made and you can find them at stores like Radio Shack.

For a situation like Mr. Chow was in, at a large conference, a wireless microphone would be preferable so you do not have to lay a cable on the floor where people are walking.  If you HAVE to use a wired mic, avoid lawsuits by duct taping down your cable.

A wireless microphone uses radio signals to transmit sound so it does not need to be plugged into the camera. Eliminating the audio cable between the speaker and the camera is very handy in many situations.

The Chow video was recorded using only the microphone found on-board the camera. Obviously it was not enough.  It picked up all the hums, coughs, and mutterings of the audience and the air conditioning system.   All that drowns Chow out.   The very best solution is to use a wireless lavalier microphone pinned onto his shirt about six inches from  his mouth.

But outside of buying a bunch of expensive new equipment, they still could have recorded better audio if they only knew how!

THEY COULD HAVE MADE IT WORK IF ONLY…….

If they were completely stuck with no other options but the small camera with no mic input, it could have worked better if they had gotten the camera and the mic MUCH closer to Mr. Chow.

The camera was clear at the back of the room and that distance is just too great for a mic like that to pick up well.  If the camera had been 3-4 feet from him instead, it would have picked up fairly decent audio.  Not great, but better than what they got.

Fixing the lighting is not nearly as critical, but doing so would be easy.  One diffused light, about 5 feet from Mr. Chow, pointed directly at his face, would light his face well but not overpower the screen behind him.

The video is quite long, nearly one hour.   I watched the entire thing and enjoyed it.  I think your ears adjust to bad sound and after listening for a while, it becomes easier to understand.   The information is top notch and I can only hope that Video Production Tips someday makes 40 grand a month!

Thanks for reading Video Production Tips.

Lorraine Grula

Internet Video Gal