https://rumble.com/

Small fun article - http://mikevogel.com/2012/11/how-much-money-can-you-make-from-a-youtube-video/

I wonder if (until we find a vaccine for COVID-19, or it naturally burns out) in the near future we'll see a shift back to more single camera shooting instead? 

Could mean more shooting days, but there could be a strong desire to shoot with the smallest minimal crews possible. As the bigger the crews, the bigger the risk someone comes down with COVID-19, causing the entire production to be shutdown!

With one exception, I can see the sound department needing to add an extra boom op than they'd usually budget for. Because lav-ing a person is quite intimate, I can see for the next few weeks/months that lavs will be avoided. Thus it becomes even more essential than usual to make sure you get the best possible coverage with the boom. 

Wonder too what will happen to the generous film incentives these scripted productions get from states/countries? When their state budgets are already under massive stresses from increased costs and a reduced tax intake, they'll be looking to cut "costs" (although I'd argue it is not a cost, but merely a tax rebate? Tax money the state would have never got otherwise, if the production wasn't shot there).

These tax rebates / film incentives will be especially vulnerable to attack if they were implemented under the basis of being "marketing for the region" to help promote tourism. Was where is the tourism now?? Dead. There is very little tourism to promote, and many regions would not want to promote tourists coming! As they want to lock out everyone who is "non-essential".

Moving on from the scripted narrative world, to the corporate world of videography and also event shooting. Am expecting a rise in live streaming. Soon nearly everyone will need to offer, just like the shift from SD to HD, everyone had to offer HD. (and we're almost at that point with 4K now)

Who charges extra for 4K these days? Most don't, or only a small token extra amount. 

So will be the case with live streaming I think, you'll either throw it in to get the job or just a modest upsell extra cost. 

And because an ATEM Mini Pro costs only US$599 you can easily eat that cost, as if it only gets you a couple of extra jobs that you wouldn't have otherwise, then it is worth it!

Formerly, the app had a limit on free "Organizations" of five people and some integration functionality.

The new paywall will put a limit of 500 "items" on free orgs across any workspace or module, after what the accounts will enter in edit only mode and effectively locked out of data in 30 days.

The rule will apply to new accounts from January 3 and existing accounts from January 19, as per email notice.

https://help.podio.com/hc/en-us/community/posts/360034170732-Upcoming-Changes-to-Podio-Free?utm_campaign=2018-12-19-Podio-Free-Changes

Thats the credentials out the way..... I wanted to start a topic that could act as a powerful resource tool for anybody wishing to enter into Wedding Videography. A collective center of useful tips, past experiences and success stories by way of sharing inspiring films from other members. This could be useful then for someone perhaps wishing to start filming weddings, or perhaps someoe who has been given that difficult challenge of filming their friend's wedding and doesn't know where to start. Useful also to those that have been doing it for years and are looking for some inspiration and a fresh set of eyes that newcomer's bring to the table.

With this in mind, I wanted to share the trials and tribulations we have encountered over the last year or so, the bad decisions with equipment we made and the ones where we got it right. Of course I add the caveat of everything I write being my own opinion and may of course not work for you. Every area in the world has accepted styles of what a Wedding Film should be, and what maybe works here doesnt necessarily work elsewhere. My focus in the business is the Techinal side, therefore I will only share my experiences and opinions with the equipment. As for the running of the business and interfacing with customers, maybe someone else will go into that.

We started in the business because we saw a growing demand for Wedding Films in our area, and yet not enough people to meet that demand. In our local area exists some guys who had been doing it for many years, and were able to provide a very traditional approach to filming a wedding, but there were not a lot of companies that would cover the day with a more cinematic flare. This need combined with my wife's insatiable appetite for watching wedding videos created our business.

We filmed our first wedding with a Panasonic SD-700 and a Panasonic SD-900. Fantastic camcorders for our first time. (We have changed cameras quite a few time before we ended up with GH3s.) We filmed a lot, maybe a lot more than we needed but we made sure we got everything we needed. We arrived early and left much later than we had planned for, but overall we are still delighted with our first film we put out. We used a RODE Videomic for the sound and generally this worked well. Where it was not so good, was when we used it directionally over one of the guests tables during the speeches. Had one of the children at the table sat somewhere else we might have picked up more of the Grooms' speech but the lesson learned was that always get your mics as close to your subjects as possible. Buy a Zoom H1, a little stand, and place it in front of your people on the top table. Sync later on and now you are free to focus on the shot and not worry about the sound. Want to be even more professional, get a wireless mic set up like the sennheiser G3 wireless kit. Mic your groom and feed the sound direct to the camera. Now you can monitor the sound through the camera.

One of the other lessons we learned at our first few weddings was how important it is to be FAST. Using tripods all day for every shot is going to make you slow. If you are not slow, then you will be squint (not level). We quickly learned that a Monopod with the added stability of some little feet was going to be our solution. Have a look at this topic....

http://www.personal-view.com/talks/discussion/7003/monopods-with-legs#

This allowed us to be quick but not at the expense of stability. In my opinion there is no excuse for going handheld all day, unless you are going for that specifically "documentary" type style. We still use tripods, but only for the Live stuff. Ceremony, Speeches and the evening dance. However we have other cameras that we use on monopods during these times and the tripod stuff is mostly used as a fall back shot (a shot to cut away to when you don't have anything else). Don't try to save money on tripods, a £35 Hama job is going to be a struggle and just bite the bullet and go for the well-known names. We use Manfrotto, not to say that they are the best, but it happened more organically. We bought a manfrotto tripod and then when we got quick plates for all our cameras we then wanted to make sure all the other tripods had the same quick release mechanism. You need to be able to go from tripod, to monopod and then back to tripod fast. So if you do buy lots of different brands of tripods or monopods, you are going to have to buy lots of quick release adaptors. Such as this one.....

http://www.calumetphoto.co.uk/eng/product/calumet_quick_release_video_head_adapter/ck9007

You will need Lights, whether you go for the fill the room with light tactic, or maybe the more subtle approach, a good light is going to give your footage the added clarity it needs. Handycams and low-light are a disaster without good light. Just search for video LED light and make sure it has at least 160 LEDs or above for a reasonable amount of light. Watch out for size though, if you want it mounted to your camera hotshoe, dont go too big. If you intend to put it on its own stand, then think about how you are going to connect it, power it and operate it.

Backups, backups, backups. Always think, what if this doesnt work? Have another camera running, use one more sound recorder. Take plenty of batteries, cards and more cameras if you can afford to. Dont go small with cards, if you can afford it, save yourself a lot of hassle by buying big (64gb) and trusting a good name like Sandisk. Brandless types make me very nervous.

Putting equipment aside, there is only one bit of advice I can offer that is more interpersonal related. No matter what happens on the day, try your best to stay calm and in control. Nobody wants to see the video guy getting stressed while he screams at the guests to just hold still for one more second. Things will break, shots will go wrong, photographers will get in the way, but through it all you need to be relaxed and able to deal with whatever is presented to you. (I'm still practicsing this bit :S)

Well, im going to leave it at that just now and see what other contributions we get. I joined this forum about a year ago and it has been my one stop shop for help, advice, information and inspiration. I hope that maybe I can pass this on in some way to someone else who was in my same position.

So yeah, I can't promise it will be illegal in your country (as it might be legal like it is for me in NZ), but hey, throw caution to the wind and get yourself one anyway! 

in NetFlix, people pay a monthly fee and can watch lots of movies and series, so the amount of money for each movie or each episode can be very small.

In Cable TV people also pay a monthly fee subscription and can watch lots of movies and series, so the amount of money is small for each one also.

In cable tv there is also on demand service to rent movies, but for famous blockbuster releases which gets lots of attention from the masses.

There are pirate sites allowing free torrent movies download (but illegal, you can be arrested if authorities track and get your ip number).

in DVD and BluRay rental in location stores, people pay for each movie, but this business model is becoming obsolete.

So, how much money people are willing to pay for rent or buy an indie film in Vimeo On Demand? What do you think?

I need good arguments or an elegant solution if somebody has had the same problem.

A client just asked me to do a vertical video campaign -supposedly vertical videos are getting better performance on social networks...

I googled and got THIS;

http://blog.animaker.com/vertical-video-facebook-ads-case-study/

and this, and there is plenty more..

http://www.socialmediatoday.com/social-business/5-reasons-why-your-business-needs-start-making-vertical-video-social-media

It looks as they all agree that vertical video is the way of the future ( gulp ).

I know it will be limited to phones only, but the sole idea makes me scared.

Will we have to fight for horizontal on every commercial project? Will we all have to shoot central composition and do the phone versions of EVERY video? Are u already doing it?

How do u approach this issue?

Thx in advance.

Jure

http://www.aphotoeditor.com/wp-content/uploads/2011/01/workforfree.jpg

Applies to musicians, too!

You can also see her photography at http://www.adrienneirizarryphotography.com/

As a DoP I see 4K as falling solidly into the "nice to have" camp, but also being very non-essential (at least for now, this will change with time). So I really don't mind hugely either way, to have 4K or not. There is other more important considerations to take care of first.

But maybe there is an extra point to 4K that I'm missing when viewing it solely through my DoP eyes.... and that is marketing!

Might it make it easier for the producer/director to sell afterwards if it is a "shot in 4K" film? I thought I read somewhere that there are content providers (for instance Amazon who announced they'll be filming all their created content in 4K) who have a lack of 4K content and thus could pick up indie 4K films simply as "4K fillers"? It is after all very common to read consumer articles about the lack of 4K content out there.

When you upload the correctly-spec'ed video YouTube also converts it to an SDR version, so people without HDR capabilities can see the video in a reasonable way. Otherwise an HDR video in SDR will look very washed out. This is also nice.

Here is an HDR video (10bit, 10+ stops of D, 4:2:2, REC202 color gamut) not converted to SDR because it does not have metadata that YouTube recognizes:

You are seeing it in SDR of course, so it looks faded - no contrast or color. If you could switch your viewer to HDR mode, the video would then look great in HDR.

An HDR video with the correct metadata, however, will display nicely in SDR, because of the conversion by Youtube. This is also an HDR video, same specs as above, but with the correct metadata so that YouTube has converted it to SDR:

It looks nice and colorful on your SDR screen, but it is REC709 all the way (8bit, 4:2:0, limited color gamut, 5-6 stops of DR).

Here is the bad news: so, how do you see the HDR version? If you switch your TV/monitor to HDR mode will you see the video in HDR? No. You need to have YouTube show the HDR version instead of the SDR version. But there is no way to do that - there is no option to choose the version - HDR or SDR - in the YouTube player.

Does that mean you cannot see the HDR version? No. There is one way, and one way only: Buy the new $69 Google Chromecast Ultra. It will play HDR YouTube videos in HDR, on any wifi-enabled HDR TV. No other device will do that - not the Amazon stick, not any Roku, nothing. It is also possible that Google has made a deal with Samsung (license fee) so that the YouTube player on some Samsung HDR TV's will play YouTube HDR videos in HDR, but this is not confirmed.

As someone on this web site might say, capitalism is so predicable - Google is not around to help us share videos, it is here to make a profit.

Interesting related information

Crowdfunding Bible book: http://www.crowdfundingguides.com/The%20Crowdfunding%20Bible.pdf

Interesting aricle: http://nofilmschool.com/2011/09/how-i-raised-125000-on-kickstarter/

As a media artist I received a request that is out of my usual domain. A major USA content licensing bureau contacted me about the use of a video registration of one of my artworks that they saw online. Their portfolio includes the biggest international brands. They want to use my footage in a commercial for a 'major electronics manufacturer' (which they won't disclose until terms are negotiated). They're offering royalties but I'm clueless about what are realistic rates in this business.

Does anyone have insights on what a "one time license fee for up to 10 seconds. Usage will be for 2 years, All Media, Worldwide." should earn me?

(Btw, footage is shot on hacked GH2 ;)

Thanks for all input, dtr

The color timing is not done, and the voiceover is placeholder, but is the general structure working for you? Do you feel like we should give more technical details about the product on the video? Thanks for your time

Adam

I have a full time monday to friday job but recently I have been making some pocket money filming weddings and now have been asked to film childrens parties for a local party organising company. The job would entail around an hour to two hours work filming the actual party and then probably on evening or two editing the piece at around 4-5 mins with music. Ball park figures of what I could/should charge for such a service ? (uk based)

Vimeo today launched its open self-distribution service, Vimeo On Demand. Available now to all Vimeo PRO members, Vimeo On Demand empowers creators to sell their works directly to their audiences and retain a 90 percent share of the revenue after transaction costs. In addition to its creator-friendly revenue share, Vimeo On Demand gives creators the flexibility and control to choose their price; select country-by-country availability; customize their page design; and offer content on Vimeo, their own website, or both.

"Vimeo is committed to empowering creators with tools to display and distribute their work in beautiful HD quality," said Vimeo CEO, Kerry Trainor. "With the addition of Vimeo On Demand, creators can now use Vimeo to control the way they earn revenue and retain a significant portion of the proceeds."

Videos purchased through Vimeo On Demand are accessible across devices, connecting creators to Vimeo's 93 million monthly viewers across desktop, mobile (Android/iOs/Windows), connected TV devices (Apple TV/Roku/Google TV/Xbox Live), and major smart TV platforms (Samsung/Panasonic/Phillips).

"What used to be a confusing and labor-intensive process is now open and simple with Vimeo On Demand," said Blake Whitman, Vice President of Creative Development. "We always strive to provide our community and visitors with the best experience possible, and this opens up a new world of viewable content and support for creators. We are proud of this first phase of Vimeo On Demand, and we're already working on another suite of creator-focused features to release in the near future."

Vimeo On Demand will launch at the SXSW Interactive + Film Festival with a screening of It's Such a Beautiful Day, the latest work by Academy Award-nominated animator and self-distribution pioneer Don Hertzfeldt. The film will screen on Tuesday, March 12, at the Vimeo Theater at SXSW from 11:00 a.m. – 12:30 p.m., and will be followed by a Q&A with Don Hertzfeldt and Vimeo CEO Kerry Trainor. Vimeo is thrilled to offer the newly re-mastered and expanded version of It's Such a Beautiful Day, which brings together the entire tragicomic story of a troubled man named Bill, for $2 rental or $6 sale, exclusively through Vimeo On Demand.

Via: http://vimeo.com/ondemand

Source: http://blog.vhx.tv/post/79165850109/vhx-is-open-to-the-public

When we launched VHX, we never imagined we’d get to work with creators like Kevin Spacey, Dave Grohl, Ira Glass, and Aziz Ansari.

We’ve been in private beta the last two years, helping distribute feature films, documentaries, TV shows, comedy specials, concerts, lectures and more. We’ve helped launch Camp Takota, Upstream Color, Mistaken for Strangers, the Oscar-nominated The Act of Killing, and many more. VHX now has over 300 titles available for sale, over $3M in gross transactions, and almost 500,000 customers worldwide.

VHX is now open to the public. Anyone can sign up and start selling immediately. Our internet-video-shaped doors are wide open: https://vhx.tv

We are lowering our pricing. VHX is free to sign up and use, and we charge just 10% + $0.50 per transaction (down from 15-20%). No extra charges for credit card processing or anything – that’s everything. Transparency? Transparency. If you’re an existing publisher this pricing will be effective as of March 1st.

Anything that used to be sold on DVD can be sold on VHX. Our platform works for a lot more than just film and TV. Faith, fitness, lifestyle, education…the list goes on. VHX also works for organizations both big and small: individuals, distributors, studios, networks, and more. Make a site to sell your work, distribute your project, and own the relationship with your audience. VHX is the technology platform that lets you run your own iTunes or Netflix. Your digital copies replace the old physical, anywhere in the world.

• £775 Story, Rights & Continuity
• £91,046 Cast
• £19,014 Supporting Artists
• £90,332 Production Staff
• £93,245 Art Department
• £32,070 Wardrobe
• £16,782 Make-up / Hair
• £53,371 Electrical
• £58,580 Camera
• £16,882 Sound
• £77,918 Travel / Transportation
• £28,670 Hotel / Living
• £70,111 Location
• £27,343 Overtime / 2nd Camera
• £482 Digital Stock & Transfers
• £25,507 Music
• £83,929 Post-Production
• £9,307 Insurance
• £2,556 Legal & Clearances
• £7,705 General Expenses
• £2,900 Publicity
• £750 PACT & Training Levy
• £15,947 Fringes
• £825,222 Total

Income

• £158,000 UK tax credit
• £88,259 TV
• £45,601 UK theatrical
• £34,942 VOD
• £32,667 Airline
• £15,594 Germany theatrical
• £12,753 Greece
• £9,374 DVD
• £1,131 US screening
• £459 UK screening
• £275 Speaking fees
• £399,055 Total

http://stephenfollows.com/the-full-costs-and-income-of-a-1million-indie-film/

http://www.theclientblog.com/2013/12/09/how-to-get-your-work-seen-by-clients-in-the-video-and-photography-industry/

I've worked on two video projects that turned into actual, physical DVDs: A Doll's House, produced by Kyle Cassidy, and Curio's Romeo and Juliet. I taught myself Adobe Encore by designing the menus and assembling the feature and extras into an attractive DVD. Kyle did the packaging for A Doll's House, and I did the packaging for Romeo and Juliet (using his poster photo as the front cover). It was worth the work. It's one thing to put a video onto YouTube and have people post appreciative comments... but it's a great feeling to hold something that looks and feels like a professionally-made product.

But it's an expensive feeling to earn. We used Discmakers for our projects, and although their work was of excellent quality and performed at a competitive price, it costs to make DVDs. To manufacture about 300 DVDs, including a basic package, could run between $700 to $900. This is a very rough estimate, because Discmakers offers a lot of options, and the costs adjust if you decide to get a plastic case or a cardboard eco-case, or just an envelope, or whatever. The nice thing is that economies of scale kick in fast: if 300 DVDs might cost you $900, (that's $3 per), making a thousand DVDs is only two or three hundred more, so your per-unit cost drops very quickly. In some cases, even a really nice DVD package could be made at a dollar-per-unit, but you'd have to make about two thousand of them, and pay between $1500-2000. And if you're selling them at $20, that's a huge profit margin.

But this is still a problem. Because now you have boxes of DVDs to get rid of. You have to sell them, market them, set a price, and very likely, you'll have to be the schmuck paying postage and shipping and mailing them out to people. You wind up wishing for two ways of distributing your video: perhaps a service that takes the orders and manufactures the discs upon demand, or pure video-on-demand via a service like Netflix or Hulu. This is when you start to understand why the entertainment industry loves digital distribution so much... and why it's a terrific opportunity to us free-lance videographers.

I decided to test digital video marketing with my ambient video project, Wissahickon Moods. The video is a collection of shots I took in Philadelphia's Wissahickon Creek, which I edited to a rough outline of themes, and scored using music by composer Chris Zabriskie. The main reason for this was that the video was pretty much my own creation; other than Chris's music, acquired through Creative Commons licensing, the material was mine and mine alone.

I found two companies that offered made-to-order DVDs. I decided to not go that route for several reasons. One company had some terrible customer reviews. I could have tried the other company. But it occurred to me that customers might feel more secure in purchasing something from a known retailer, rather than a relatively unknown DVD company. This is not a completely rational and hard-headed market analysis, I admit: but I can always try that company in the future.

Instead, I looked into the major digital distribution channels, such as Amazon On Demand, Netflix, iTunes, Vimeo, and others. Most of these required a lot of advance work and some degree of money. Vimeo's paying service requires purchasing a membership at $200 a year, which is very cheap. On the other hand, Apple charges close to two thousand dollars for the privilege of letting them stream your video onto iPhones, and you have to have four other videos and a history of making good product. Netflix just isn't an option for an independent filmmaker without a studio distribution deal.

I found three outlets that showed immense promise, and I was able to place my film with all three for next to nothing but work. VHX and Kinonation had no up-front costs, and Amazon Createspace was extremely cheap.

VHX (http://www.vhx.com) was the first. This is a distribution company of streaming hi-def video that works with a lot of indie filmmakers: I think I heard about it because they were handling a film David Cross was working on. They seem to accept almost anything-- they're not undiscriminating, just flexible-- and they offer their materials in "packages" akin to a DVD with extra features. You upload your materials, and set up a page for your feature, and you're up and running. They take about 10% of the sale plus fifty cents, which is a small price to pay. (I should mention that, in the first month Wissahickon Moods went on sale, VHX moved six copies. That earned about sixty-nine dollars, and VHX's cut was only nine bucks.) They also recently set up a deal with Roku, so that's a bigger market to reach, and it means more customers for you.

Kinonation (http://kinonation.com/) is a different story altogether. Kinonation takes your materials, and then attempts to market it to larger distributors. Since these include Amazon On Demand, Xfinity, and Hulu, Kinonation can get your material before some very large audiences used to streaming video. There are no up-front costs, but there is a LOT of prep work. Lots of data to put into their system, like IMDb links, caption files, language data, and more, plus several differently-configured thumbnails. And your video cannot be the usual MP4s you've been uploading: Kinonation requires high-bitrate DNxHD Quicktime files, which are massive. This is because they recompile your materials for the various outlets they deal with, and having a high-quality original is a must. (My one hour video was more than sixty gig in size. But their upload interface is efficient and allows for interrupted transfers.)

Amazon Createspace (http://www.createspace.com) is how so many people are self-publishing novels, and Amazon's expanded into video distribution as well. It's a combination of streaming video and made-to-order DVD sales. You have to compile your materials onto a DVD, upload the ISO file to Createspace (or mail them a DVD), provide some designs for DVD covers and thumbnails, and you're good to go. You can market your video three ways: through Amazon, through your Createspace site, and as video-on-demand.

But there's a few things to know in advance. First of all, your video cannot be hi-def. It has to be standard-definition, 720x480, at best. Createspace accepts only single-layer DVDs. Also, the DVD itself can't have more than one video file on it. Createspace takes the DVD and extracts that video for streaming, so you can't sell a DVD that has a film and a making-of documentary. Your DVD has to be No Extras.

After you send Createspace your ISO file, you'll have to wait up to 10 days before they finish their review. At this point, you are asked to purchase a proof to review. This costs perhaps $10-12, so it's not a huge cost, and checking a proof of the disc is always recommended.

What about the money? Well, Createspace takes a much larger piece than most. Let's take Wissahickon Moods as an example. The DVD costs $15. If it's sold through Amazon directly, they take $7.80. If it's sold through my Createspace page, they take $3.30. If the film is sold or rented through Amazon Instant Video, they take 50%. I don't know how you feel about these percentages, but I figure that offering sales to Amazon's massive customer base is worth the cut. It's certainly better than not selling to them.

And if you're interested in seeing the project...

Current Availability:

Trailer, YouTube:

Trailer, Vimeo:

Hi-def Streaming via VHX: http://wissahickonmoods3.vhx.tv

DVD for sale via Amazon: http://www.amazon.com/gp/product/B00T8N8N0O/ref=ox_sc_act_title_1?ie=UTF8&psc=1&smid=ATVPDKIKX0DER

DVD for sale via Createspace: http://www.createspace.com/427517