A TikTok Moment Reveals a Major Production Failure #StageBlunders

One of the most important aspects of production is safety. Careless mistakes can get people hurt. 

In my experience, nearly every production team I've worked with over the years has been dedicated to ensuring the safety and well-being of everyone involved. Much like a doctor’s pledge to "first, do no harm," the event managers, producers, and production teams I know and trust always take their responsibility seriously—not just to put on a great show for the audience, but to make sure the performers on stage and the production crew are protected too.

So, when I saw this Tik Tok video by @lexdawgie in my Instagram feed reposted by @popcravenow on Threads, I had to call out the event producer and stage crew involved in this production failure.

@lexdawgie Even after all these years, Bonnie and Caroline are still saving Elena #tvd #thevampirediaries #ninadobrev #candiceking #katgraham #elanagilbert #carolineforbes #bonniebennett #epiccons ♬ original sound - Lexdawg

While no one was hurt and those on stage laughed it off, the outcome could have been very different. 

As industry professionals, it’s on us to use our experience and common sense to keep things safe and make sure everyone on stage is out of harm’s way.

What are your thoughts?

Zoom Presenter AV Tech Checks – Are you ready for your close-up?

Virtual events aren't going anywhere any time soon and as companies have shifted to a full-time remote workforce over the last two years, most people have figured out how to join and participate in virtual meetings. While most meetings don't require you to turn on your camera, which can save you from a bad hair day or even getting dressed for your work day, there are many occasions when you have to start your video and smile at the camera. So, when the time comes for you to turn on camera, unmute your mic and share your big presentation in a virtual meeting on Zoom or Teams or any virtual event platform, are you ready for your close up? 

As follow up to my last two posts, Build your own Micro Studio and Your Virtual Production Home Studio – There's No Place Like Home, this post shares a checklist my team and I created for our Zoom presenters to help prepare them for virtual stage. We usually schedule a day or more of tech checks with each our presenters before the virtual events that we produce. The tech checks usually take only 15-minutes depending on the level of knowledge and comfort our presenters have with Zoom.  

Zoom Presenter AV Tech Check List

 

Internet Connection

• Use Zoom app not web browser (keep app updated)

• VPN off (it consumes too much bandwidth)

• Wired Internet preferred vs. Wifi (tether to mobile as last resort)

 

Communications

• Zoom controls (video, audio, chat)

• Host will ask to unmute/turn on camera (Host can’t turn on their cameras and need to ask)

• Intercom for communication with production team behind the scenes

 

Clock

• Timer counting down amount of time to present (available for produced events)

 

Audio & Video

• Video - controls, on/off

• Audio – sound check, use computer audio, USB mic or built-in mic vs. telephone

 

Content

• Share content using Zoom share or with video capture card 

• Pin “slide” window to see any Zoom video full screen for your local view

 

Background

• Virtual or physical background

 

Lighting

• Natural or artificial lighting (even lighting)

 

Camera framing

• Camera angle and eye contact (head and shoulders in view with camera at eye line)

Build your own Micro Studio

Over the last two years the rise in mini or “micro” studios around the world grew as the new economy of virtual meetings hit an all-time high. I don't mean micro-studio apartments, what I'm talking about is transforming small office spaces into a personal video production studio with enhanced audio and video technology that provide professional studio quality in a safe environment. 

As it's said, necessity is the mother of invention. COVID created challenges and opportunities for the video industry, and it forced us all to work differently and adapt, and regardless of what happened the need to communicate was our driving force and the show must go on. 

So, early in the pandemic my team and I created a series of micro studios within our regional headquarters by converting empty offices into small studio spaces we call micro studios. We did it by necessity, as we had to socially distance our studio presenters and talent since they couldn't be in the same space due to COVID restrictions. But in our micro studios, they could safely meet with each other over a video call from their own mini studios.

But why go to all the trouble of building your own micro studio if the built-in webcam and microphone on your laptop and just regular ambient light works fine for most meetings? 

Because production quality matters, and high-quality video content increases engagement. So, if you’re presenting important information, teaching a class, public speaking or if you're appearing on any virtual event or broadcast TV, and you want to stand out and look and sound the best you can, then this blog post is for you. 

As we built our micro studios, we tested a lot of different equipment and set ups and developed an affordable solution that we could replicate. We've successfully connected them to Zoom, Teams, WebEx, Vmix call, OBS, Restream, and many other virtual event platforms. Several of our regional leaders use our micro studios on a regular basis for their important board meetings and high-profile external events. I'd also add that we instituted and follow COVID workplace safety procedures to keep our staff and guests safe by wearing masks and disinfecting workspaces and equipment.

Here are the main components of our micro studios:

1. Computer - The Apple Mac mini M1 model 16 GB RAM, keyboard, mouse, is great if you’re using it primarily for virtual meetings and lighter streaming applications this model works great and runs, Zoom, Teams OBS, and all productivity apps with ease. 

2. Monitor - This is a real subjective choice, depending on what other work you do an inexpensive LCD monitor with HDMI inputs will work. We use the LG 29WN600-W 29" 21:9 UltraWide and the Acer B277 27" LED LCD Monitor.

3. Speakers - The Yamaha NX-50 Premium Computer Speakers were recommended by my audio engineers for their great sound at an affordable price. They work well and sound great although for most applications we prefer the in-ear monitors for very conversational sessions. This helps avoid any sort of audio slap back that isn’t eliminated by the echo cancellation in the video call software. 

4. Webcam - Logitech Brio 4K Webcam is the industry standard to get HD quality and look really great on camera. There are plenty of other options for higher quality with DSLR‘s, Blackmagic Pocket cinema cameras, but the Brio is a workhorse for your business meetings and webinars. Logitech has the Logi Tune app you can download that controls the settings from the Brio like your zoom ratio, white balance, focus, brightness and contrast. Logitech Capture app is also a content creation tool you can use with your webcam.

5. Audio interface - We handle audio differently than regular meetings, which usually are fine with just an inexpensive USB headset or Bluetooth earbuds. We use professional studio sound equipment that includes an audio interface, an omnidirectional lavalier microphone and an in ear monitor. In the micro studios we use the Focusrite Scarlett Solo 2x2 USB Audio Interface, and for our travel audio kits we’ve developed for our senior leaders we use the Shure X2U XLR-to-USB Signal Adapter. Both devices have professional XLR inputs and headphone jacks to monitor your audio input and output and a USB port to connect to your computer. The Scarlet has quarter inch 6.35 mm (1⁄4 in) outs which helps integration with other professional audio equipment. 

6. Microphone & in ear monitor - While more inexpensive options are available, we go DPA all the way. We use the 4060 Series Miniature Omnidirectional lavalier microphones and DPA Microphones d:fine In-Ear Broadcast Headset. We use DPA microphones in studio and these amazing mics have withstood the rigors of space travel and exploring the sounds of Mars. More inexpensive options are available like the  Sennheiser XS Lav USB-C Lapel Mic or any of these USB Lavalier Microphones.

7. Lighting - Depending on the room and size of the space, we use a similar approach but have several different lighting instruments with both ring lights and soft light panels. We don't use three-point lighting in our micro studios since that would be too dramatic and overkill. The key is to have flat even lighting on your subject so that there are no shadows. Soft incident light helps create that look and a simple way to achieve this look is to bounce your lights off your office walls. You can also position your lights to avoid those round ring light circles or lighting reflections in glasses. We use a few different lights in our spaces, like the VL-200T Portable LED Video Ultra-Thin Dimmable Lighting Panel with the Neewer Mini Set of Two Aluminum Photography Back Light Stands. We also use the more expensive Litepanels Astra 6X Bi-Color LED Panels. For ring lights, we use the CLAR Luminous Pro 19" Bi-Color Ringlight Plus which has actually been discontinued, so a good alternative is the CLAR LF-Y500 Double Arm 3000-6500K LED Light or the VidPro RL-18 LED 18" Ring Light. 

8. Green screen - Using a green screen with your virtual backgrounds on Zoom calls will enhance your quality with a professional looking chroma key. We use the FUDESY Collapsible Chromakey Panel Green Screen-77 x74 Backdrop with great results.

There are so many other equipment options out there as the market shifted to remote work and home studios over the last two years. We've tried out many solutions and found this collection of products work best in our environment. I'll be sharing more detail on some of the individual components and devices in future posts.

I'd love to hear what technology and solutions you're using in your own micro studios. Let me know if you have any recommendations or what you're doing to get the best audio and video quality for your virtual events.

Read Part Two of my Streamingmedia.com article, "No Second Chances, Part 2: Best Practices for Live Events"

Part two of my Streaming Media article, No Second Chances, Part 2: Best Practices for Live Events - Streaming Media Magazine, is now in print and online. The second installment looks at different ways to make the overall webcast experience engaging for your online audience using a variety of different video production techniques interactive tools. Live events have changed dramatically over the last few years with the evolution of enterprise video platforms and the rise of virtual events and live webcasting. Today, companies are now incorporating new and innovative ways to engage their growing online audiences.

Webcasting tools have become easier to use, and, with the development of interactive and social media tools, they’ve evolved from one-way broadcasts into two-way conversations. But just because you have myriad bells and whistles at your disposal doesn’t mean you have to use every one for every event. As I said in Part 1 of my article, “the key is to use the right technology to make it easy to reach the live audience and virtual attendees and provide them a quality and worthwhile experience.”

Here's a brief excerpt from part two:

THE MEDIUM IS THE MESSAGE

We’ve already established that you need the right team with the right tools and the right capabilities at your live event venue. But what are the secret tricks to creating an engaging experience for your audience with streaming video, audio, graphics, and real-time interaction to move them from passive viewers to active participants?

If you only take away only one thing from this article, remember this tip: Don’t let your online audience be an afterthought. You need to cater to their needs by making their experience as engaging as the live audience’s, but in a different way.

Waiting for the big event to begin, in person and online (Photo credit: Harvey Woo)

Look no further than popular culture to see what "American Idol" has done to capture its live audience. The producers were deliberate with their intent, because they knew that the real show was on the screens of millions of TV viewers; it was not for the hundreds of people in the live audience. They didn’t skimp on production value, and, from the start, they introduced an audience response text-to-vote system that gave the audience the power to influence the outcome of the show.

Just think: What if you put that capability into the hands of your online audience? We’d be able to vote off every boring presenter known to mankind!

Corporate communications departments are seeing the shift as well. Donn Kanagaki, senior manager of IT communications at Kaiser Permanente, oversees the employee outreach events for the CIO and senior IT leadership, which incorporate a combination of a live event, webcast, WebEx, and telephone bridge in order to reach more than 6,000 employees across five time zones. About one-third of the IT employees are able to attend the event live via webcast, but the online numbers are growing. Kanagaki says, “We have to recognize that the majority of our employees that participate are watching online, so we need to look at ways to better engage them.”

While Kaiser Permanente CIO Phil Fasano addresses an in-person audience of several hundred, the live webcast reaches thousands of employees who can watch the event online and submit questions directly to the CIO and senior leaders. 

In the words of Marshall McLuhan, “The medium is the message,” and the message can be delivered more effectively using the latest interactive technologies. You may have to use a hybrid approach with a combination of tools based on the capabilities of your webcast or webconferencing platform. Beyond content design, it really does come down to pushing the limits of any platform and streaming technology to achieve the best two-way experience for your attendees and yourself.

TELL A STORY

The plain and simple fact is that no technology, however great it is, can make a boring presenter better. You have to design your presentation to the right audience using the best set of tools and production value to carry your message. But beyond any technology, presenters need to connect with their audience.

All the great presenters, from Steve Jobs to Gary Vaynerchuk to Isabel Allende, use storytelling to convey their messages. People respond to personal stories because they convey emotion and a universal message.

According to Tim Schmoyer, producer of The Reel Web for Reelseo.com and one of the most diversely skilled and knowledgeable people in the online video space, storytelling is important and the best way to get your message across. “Stories are something that everyone enjoys and appreciates, and there’s an emotional connection to stories,” says Schmoyer. “What we really believe in is that stories are much more compelling, especially if you can tell a story that answers the ‘why?’ question.”


Continue reading the full article at: No Second Chances, Part 2: Best Practices for Live Events - Streaming Media Magazine


My thanks again, to the many people who I have worked with over the years to help me learn what works best for live events, and what doesn't work so well. Also, my thanks to the many clients I have worked with who have trusted me to produce their live events. I also want to thank the following people for contributing to this article, including: Nick Balletta, CEO of TalkPoint, Donn Kanagaki, senior manager of IT communications at Kaiser Permanente, Tim Schmoyer, producer of the Reel Web for ReelSEO.com, Casey Wilms, product manager at Zencoder, Mike Folgner, CEO and co-founder of SnappyTV, Harvey Louie, technical director, producer, and consultant of the webcasting company Event Compression Group, my good friend and creative partner Harvey Woo, owner and creative director of Professional Sound Productions, my production manager and traffic controller  Steve Dung, owner of Visions Plus video production services and my IT partner and colleague James Adams, Manager of Virtual Event Delivery at Kaiser Permanente.

My thank you's could go on and on, so I'll cut it short, and finally extend my thanks to my trusted crew and "A" team for your professionalism and support, you know who are... (Sammy, Dwight, Dominic "Baby Dom", Marcia, Brad, Tom, Alfonso, Jason "JJ", Rachel "Ray Ray", Harold "Dirty B", Luke, Ricker, Lorin, Paul and Weyman "The Pro Sound backbone", and the Young Guns, Sam, Matt, Brandon and Josh, and again, Harvey.)

This article appears in the August/September 2013 issue of Streaming Media magazine as:  No Second Chances, Part 2: Best Practices for Live Events.

Businesses are increasingly depending on live event streaming. For expert tips on how to pull them off like a pro, read the second part of our series.
by Larry Kless

Read my article on Streamingmedia.com, "No Second Chances: Get Live Events Right the First Time"

I just wrote a new article for Streaming Media Magazine titled, "No Second Chances: Get Live Events Right the First Time - Streaming Media Magazine", that looks at the five core elements for a successful live event in the enterprise setting. It's a culmination of key learnings from years of producing live events and offers battle-tested advice to ensure live enterprise events come off without a hitch.

A big thanks to the many people who have helped me over the years to learn what works best for live events, and what doesn't work so well, and to the many clients I have worked with who have trusted me to produce their live events. Many thanks to Eric Schumacher-Rasmussen and the people at Streamingmedia.com, for their support over the years and for giving me the opportunity to share my best practices in live event production with this article.

Here's a brief excerpt from the article:

The success of any live event is dependent on five core elements: the people, the plan, the technology, the venue, and the audience; they all intersect to either make or break an event. The added layer of virtual attendees creates an even greater challenge, because you have to produce the event for people both inside and outside the room. The key is to use the right technology to make it easy to reach the live audience and virtual attendees and provide them a quality and worthwhile experience. 

 And I can tell you from experience that it better be good!

 Over the last 20 years of producing live events, I’ve learned a lot about how things can go right and wrong, and from good to bad, and from bad to worse. Most problems stem from the things that fall through the cracks: forgotten tasks that didn’t make your checklist or that were not delegated. They can either creep up on you or blow up in your face, and we all know what’s at stake. As they say in the live event biz, “You’re only as good as your last show.”

 You can avoid most problems with proper planning and clear communication. The best shows are the ones where everyone knows what to do, so the show comes off without a hitch. Whether you are in the studio or on location, the same rules apply if you want to be successful. The key to succeeding is that you go in with a plan and strongly dissuade clients from disruptive last-minute changes. They may think it’s not a big deal, but you know better...

Continue reading the full article at: No Second Chances: Get Live Events Right the First Time - Streaming Media Magazine.

This view is of a video village with HD engineering, monitoring, switching, and recording. (This was set up inside a closet! Really, and it actually fit!)

I'll be following up with part two, that looks specifically at how to deliver an effective webcast, including interactive and social media elements, to the audience off-site.

This article appears in the June/July 2013 issue of Streaming Media magazine as "No Second Chances: Best Practices for Live Events in the Enterprise, Part 1."

Learn the five core elements for a live event, then follow this battle-tested advice to ensure live enterprise events come off without a hitch.

by Larry Kless

Calling All Online Video Bloggers!

For those of you who have followed this blog you've probably noticed that things have slowed here bit over the last year, due in part to my busy work schedule. But while things have slowed down here on Klessblog, it's been picking up on my other site, Online Video Publishing [dot] com, with a number of new posts by guest bloggers. I've been running Online Video Publishing [dot] com, as a companion site to my blog, and over the last few years it's become a resource for sharing strategies, best practices, news, tips and how to's for online video publishers.

So why am I spending time on my other site instead of producing new content here on this blog? Well, as a matter of fact, all the most recent articles on Online Video Publishing [dot] com have been written by guest authors. So, I've written this post as an open invitation to any guest blogger who would like to contribute an article or series to Online Video Publishing [dot] com.

The articles on the site are all focused on video publishing for multi-screen platforms. In the most recent post, Peter Smith provides some practical tips on How to start your own Videography Business. He says, one of the first things you have to consider when thinking about starting your own videography business, "is whether or not you are suited to owning your own business. As difficult as it may be to hear the truth is not everyone is capable of being in business for themselves. It takes discipline and dedication and owning a decent video camera does not automatically qualify you to be in business." Read more here.

In another guest post, Apple's Thunderbolt Display Port Dismays the AV Industry, Lorin Nelson, SF Bay Area-based Technical Panic Alleviation Technician, describes the current dismay within the AV industry resulting from HDCP encryption in Thunderbolt mini-DVI ports, and what current solutions are available. He sums up the challenges within the article in his sub-title, "AV Industry Challenges Brave Mac Techs Who Are Confined to Speaking In Terms of Re-Branding, With Little Success Given the Fact that They Are Unaware of Specs, Really want to Help, but Are Rendered Helpless by the Apple Core Design Team." Read more here.

Also, Joe Kukura, a writer for the RealPlayer video technology blog contributed an article on how music legend and recording artist, Neil Young rocks online music with a new high resolution audio format. Apparently, Neil Young had been working with the late Steve Jobs to bring this new HD audio format to future iPods and was quoted as saying, “Steve Jobs was a pioneer of digital music, but when he went home, he listened to vinyl. And you've gotta believe that if he'd lived long enough, he would eventually have done what I'm trying to do.” Read more here.

In addition to individual writers, video companies are also welcome to provide content, like UK-based Vidify, who shares 5 ways online video can increase your business revenue. The article points out that, "Video has been proven to be an effective tool in increasing conversion rates online. You should note however that a bad video is going to do just the opposite. When you decide that it is time to join the major brands in online video, ensure that you are providing your website visitors with a professionally produced video that explains your business message and presents you as an expert in your field." Read more here.

The posting guidelines for Online Video Publishing [dot] com are that articles be video topic related, and can be news, informational, analysis, observational, opinion, how to, production tips, best practices and can be any length. Articles can include videos, graphics, embed codes and can be in html format. Author and company will receive mention and backlinks within the post. Sponsored posts are also accepted, but posts that are just promotional, pure marketing, direct sales pitches or press releases are not accepted. 

If you're interested, please feel free to submit any article or series, contact me at klessblog@gmail.com if have you any questions.

10 Tips for Producing Live Events

Over the last twenty years of producing live events I've learned a lot about how things can go right and wrong, and from good to bad, and from bad to worse. Most problems stem from the things that have fallen through the cracks. Forgotten tasks that didn't make it to a list or get delegated, and either creep up on you or blow up in your face. But you can avoid most problems with proper planning and clear communication. The best shows are the ones where everyone knows what to do and the show comes off without a hitch. Whether you are in studio or on location, the same rules apply if you want to be successful. I've worked on this post on and off over the past years adding a bits and pieces of what I've learned that's helped make my shows successful, and now present it as my ten tips for producing live events.

1) Know your client(s) - if you are the event producer you need to communicate directly with the main client. Most executives and professional speakers have handlers, communications staff who write their material maintain their messages, admin staff who directly support them and maintain their schedules and a variety of reporting staff, directors, managers, leads, you get the point. There are layers between you and the main client, who in the end, is whom you are working for. Whether you are planning the event logistics, identifying the technical requirements, working on content or estimating the budget - all things flow from the wants and needs of the main client. You can save your self a lot of work if you can get a meeting with the main client in advance and discuss staging, presentation style in advance. With all the handlers, you get a lot of filtered information and waste a lot of time getting through the layers.

2) Conduct a site survey - knowing your location is your best defense against failure. Not only are you able to assess the space for room dimensions, ceiling height, power needs, lighting, noise, Internet connections, access to loading dock, etc...  you also get to meet the people who manage the venue – and who will ultimately be the ones that support you and your production. Some venues will let you bring in all your own gear, without any buy-out fee – but some venues have exclusives on lighting and audio, and can even be within the jurisdiction of a local I.A.T.S.E. union, like Local 16 in San Francisco, and you'll be required to hire union labor. If you're a producer, it's best to work with a meeting planner who can deal with the hotel contract so you can focus on the AV and event production. But be sure to make friends with the venue, both the in-house AV and banquets staff. Don't forget that you're in their house and they are key partners in your success. The two most important aspects of your site survey are to gain intelligence and build relationships.

3) Have a plan - with every live event there are various templates that can be applied to the production. While each set up is distinct there are standards to follow when the space allows. Most live events takes place in an auditorium, conference room, convention center or ballroom. Video village, as it's called, or video control is back stage and is where the director, technical director, producer, engineer, graphics, projectionist and webcast or videoconference producer and that's the central nervous system of your equipment set up, signal flow and distribution, connectivity, interactive tools and lots and lots of cabling. Go into each set up with a game plan on how you will set up video village, where each station will be and what needs to connect to what.

4) Have an A-Team - it goes without saying that there's no "I" in team, and the best way to achieve your results is to be surrounded by people you trust, people who are professionals and experts in the field, and people you can rely onto do their jobs. With so many moving parts of your live event, you can't micro-manage, or keep track of every detail within each department. So that's where your team comes in to help you be those extra eyes and ears to catch any issues and ultimately get the job done right.

5) Stick to budget and deadlines - It's easy to go over budget when you start adding extra wireless microphones, Internet and power drops, cameras, and probably one of the biggest cost over-runs is not correctly estimating the amount of time it actually takes to produce your event. In most cases, labor can be your biggest cost, and if you don't account for overtime, and even double time, you run the risk of being way over budget. Having the proper staffing ratio is crucial to staying on time and budget. You need to have the right amont of labor to get the job done, and not either under or over staff. If you're producing a video webcast with a live audience, you'll have core costs that will cover equipment and labor.

6) Stick to the plan - Go into each show with a scripted game plan. Even a simple a simple agenda can be something that your crew follows, but a detailed run of show document that maps out the show flow is the best document to use. Your plan should also include set-up diagrams that shows signal flow; floor plans that shows they room layout and location of AV, cameras, lighting, catering; and, any other documents like webcast information, call sheets, production schedules and checklists for both the crew and clients to follow.

7) Plan a rehearsal - The more you know, the better the you do... and the best way to know is to practice. Aside from presenters being able practice clicking through their slides and getting comfortable with the environment, you need to know their transitions, cues for videos, music, camera angles and blocking, along with how the show will open and close. Will your presenters have walk-on music, on screen graphics, or need Internet access? Is there an announcer or VOG? How will Q&A be handled? It's best to have that all figured out in advance and rehearse with your presenters and crew. If time permits, try to gather the crew together for a show flow meeting, then go through a tech rehearsal with the crew, followed by rehearsals with each presenter. Beginnings, middle and ends, along with transitions, video rolls, lighting changes, and every audio and video cue should be rehearsed.

8) Avoid last minute changes - Last minute changes can be either highly disruptive or no harm at all. Fixing a typo on a slide or slight change to an element on stage usually won't upset the apple cart. But adding new content at the last minute, like a brand new slide show or video, should be avoided. Especially, if you don't get time to test or practice, that last minute change could blow up in your face, and make your presenters and clients look foolish. But be prepared for last minute changes and if there’s time  – update your script, rehearse if possible, but say, “No, we’re out of time” when you have to. Really, there’s nothing worse than a major on-air blunder.

9) Be prepared, and always have back up - As the Boy Scouts' motto says, "Be prepared." Not only for emergencies, but, "for any old thing." Live events are just that... they're live. Anything can happen. The presenter's wireless microphone could go out. You could lose power which could effect audio, lighting and the live feed. Make sure you have back up microphones and a reliable power source. If you have a lot of lighting, make sure you have a head electrician who can manage the power needs for all the lights so you don't trip a breaker or blow a circuit. For graphics, it's common to have a primary and back up computer to run your slides, and always wire the stage. You never know when a presenter will come with their own laptop and have videos they want to run, so having the cabling already set will save your


10) Roll with it - the old show business phrase, "the show must go on" applies here. Regardless of what happens, there is an audience out there waiting to be educated, informed or entertained, so you have to deliver. The that the fact that a live event is "live" makes it both easier and more difficult at the same time. There are no second takes. When something goes out live that shouldn't have, there are no take backs. So, when you're live you have to roll with it. That means when presenters are late or go off script, or when there's equipment failure, or a crew member calls in sick, or any unplanned situation you have to roll with it. When you're video recording, you can always "fix it in post." But the key is to keep a cool head, don't let them see you sweat and be a leader.

1st draft - 6/22/08
Final draft - 5/27/2012


Update 6/9/12: I forgot to mention how important it is to feed your crew. Bring snacks and plenty of water to keep their energy up, and be sure to budget crew meals on those long production days. That's the best way to keep them happy and on their toes.

Videoconferencing Best Practices: Designing Graphics For Effective Use in a Videoconference

It's often a challenge for presenters to design graphics effectively for use in a videoconference. Many presenters overdo it on slides and tend to cram as much information as they can on each slide, rather than follow the "less is more" approach. I've seen a lot good, bad and ugly graphics in my time, and this post focuses on tips for creating more compelling graphics for videoconferences. This post is also a follow up to a series of articles on Videoconferencing Best Practices, which includes: 12 Tips for Moderating a Panel Discussion, 10 Verbal and Nonverbal Communication Tips and 7 Presentation Tips for Speakers. 

Graphics work well in support of your message, but be careful you don’t become too dependent on the slides. Your audience should only see slides about 10% of the time you are speaking. If your audience is watching on a single screen, think of the how the 6:00 o’clock news is paced, and alternate between speaking, graphics, video and then back to speaking. No segment lasts very long – use this as your role model. The ideal ways to show slides are directly from the computer, and most all videoconference rooms have a PC connection for both in room and remote presentations.

For broadcasts, meetings and instruction the same rules apply when you prepare your slides.

• Keep things simple and concise
• Use a horizontal format
• Use a large sans serif typeface (Arial Bold)
• No less than 30 point size fonts
• Follow the 6 by 6 rule (6 words per line, 6 lines per page)
• Leave border room around the edges
• Fill the screen with the image
• Use simple graphs, illustrations, scanned images
• Use restraint with colors, high contrast works best
• Avoid transparencies and small type written pages

The take home message is that presentation materials need to be as clear and concise as possible. Unlike meetings or instruction, a broadcast is not two-way, so you can’t get instant feedback from the viewing sites on visual clarity.

The rules for producing successful computer graphic designs for video are the opposite of desktop publishing. Choices in text, color, and design varies between the two because they are very different mediums and different rules apply. Graphics for use on television should conform to broadcast guidelines.

Sans serif typefaces (Helvetica, Arial) are more legible than serif typefaces because of their clean letterforms. They are used where quick legibility is vital (street and highway signs), or to catch one's attention with short bursts of type (newspaper headlines). Serif typefaces (Times, Garamond) tend to be more readable for large amounts of text on paper. However, they are ineffective to use as text on the video screen.

The most basic rules for preparing presentation materials are to Keep It Short and Simple, and Keep It Large and Legible. The following tips should provide you with a basic set of graphic guidelines.

1. Keep primary text in the center
Although "dead center" is usually an area to avoid in print media, viewers are used to watching video this way. Don't crowd the screen, instead use several screens to focus attention. Use a horizontal page format, and use six words per line and six lines per screen {Rule of Six}. (Figure 1)

2. Work within the STA (Safe Titling Area)
The STA is the cut off area for all screen images.The screen size between computers and TV monitors is not equal, and things can be cut off if they get to close to the edges. Leave at least a one inch border of empty space around each side of the page to be safe. (Figure 2)

3. Avoid thin horizontal lines, single dots, busy patterns and finely detailed grids
Always use 2 Pt. lines or larger, thin lines just don't cut it. Lines need to be thick and bold or they will flicker. Like thin lines, fine grids, patterns and dots cause flickering and picture distortion also. Avoid shading on printed hard copy because it creates buzzing patterns on camera. Supply details verbally, making charts and graphs simple (Figure 3) . Also, use clip art and flow charts sparingly, remember less is more.

4. Avoid highly saturated colors
Chroma crawl can be seen when two neighboring colors (text and background) bleed into each other. . The more saturated your colors are the more chroma crawl is added to the image. Don't overdo your use of color.
AVOID USING RED or GREEN FOR TEXT

5. Make text large and legible

• Use 30 Pt. for body text, and 40 - 48 Pt. for titles.
• Use no more than two typefaces per presentation
• Use drop shadows to add depth to text, drop shadows help separate text from the background (Figure 1)
• DON'T USE ALL CAPS FOR BODY TEXT, IT'S TOO HARD TO READ!! (Figure 2)

Do's

• Keep text large and legible by using 30 pt for body text, 30-45 pt for subtitles and 40-48 pt for titles
• 48 pt serif title: Times Bold
• 30 pt sans serif-body text: Helvetica Bold
• Use sans serif typeface for body text and serif typeface for titles (the opposite of desktop publishing)
• Use no more than two fonts and only one background per presentation
• Use white text on a dark blue to black background, this works the best readability from across the room
• Use drop shadows to add depth to text, drop shadows help separate text from the background
• Use a Truetype font like Monotype Sorts as bullets, it's more expressive than Option-8 (•)

Dont's

• Don't use Script fonts, they are too fancy for presentations
• ONCE AGAIN, DON'T USE ALL CAPS IT'S TOO HARD TO READ!!
• All caps works only for TITLES, but not recommended

Download this full document here: Slideshare.net | Designing Graphics for Effective Use in a Videoconference

How to Produce Flip Videos that Inform, Engage and Entertain Your Employees - Update from Ragan Communications Webinar, May 14, 2010

Last week, I was a featured speaker on a webinar hosted by Ragan Communications on, "How to produce Flip videos that inform, engage and entertain your employees." I wore my day job hat for this event, as a multimedia professional for Kaiser Permanente, and was joined by my colleague Elizabeth Schainbaum, a staff writer in our Corporate Communications department. We discussed how we're using Flip and Kodak pocket video cameras to capture important employee news to post on our company's Intranet portal. Liz shared her experience as a writer turned video producer, who really hadn't used a Flip camera before but was charged to produce a short video, rather than write a story about how one of our medical team's from South Sacramento were conducting a trauma response training at our Sidney Garfield Health Care Innovation Center. The medical team ran a series of simulations on how to respond to gun shot wound victims and other severe injuries to prepare for the opening of Kaiser Permanente’s first Level II trauma center. Liz's manager thought it would be a great opportunity to use video to tell the story.

In preparation for the video shoot, Liz asked me for a few pointers on how to capture the story using a Flip camera. Her boss handed her a Flip without any instructions and only about a day or so to prepare. I had previously led a Flip 101 training session for some of her colleagues in Media Relations and Corporate Communications, who also were given Flip cameras as part of KP's growing use of social media within internal and external communications.

Liz and I had a brief hallway conversation, and I shared a few important tips that I thought would help her produce a better end product - such as,  use a tripod or hold the camera steady, interview a few people, make sure they introduce themselves and keep their answers concise, also have them include your question in their answer for context, try to have an interesting background, stay close since the microphone is built in, shoot some B-roll so you can edit in some cut-aways, just to name a few.

After her video shoot, Liz worked with one of our Sr. Web Developers to both edit the video and post it to our Intranet website. The completed video got rave reviews and she went on to produce several videos which were even better the first as she learned more and got more comfortable with the medium.

It turned out to be a great case study for using video in corporate communications and a perfect fit for the Ragan webinar audience. The webinar itself was very well attended with over 200 paid attendees. You can buy the CD from Ragan for $99 here, but below you'll find our webinar slides for free.

How to produce Flip videos that inform, engage and entertain your employees

View more presentations from Online Video Publishing [dot] com.

The topics we covered included: 

Shooting tips:

• How to frame an interview to give your speaker enough head room
• When to use a tripod and why you should avoid zooming
• How to select the best background for your interview
• Tricks to make sure your video is always sharp and in focus

Lighting:

• What kind of lighting conditions you need for good picture quality
• How to avoid producing grainy video
• Ways to light your subject, without buying expensive equipment

Audio:

• How to avoid distracting background noise
• Why you need to stay close to your interview subject
• When to use an external microphone

Editing:

• Why shorter is always better
• Types of free software you can use to create your video vignettes—and optional equipment you can buy if you want to kick it up a notch
• A step-by-step process to edit your Flip video, including transferring the video, creating a timeline and uploading it to your intranet or YouTube

How to produce stellar employee videos:

• What types of stories are best told with a Flip camera
• How to produce videos that your audience will want to watch—over and over again
• Why clips produced on a Flip can be more engaging that polished, professional videos

We were also joined by CEO Mark Ragan during the Q&A, who shared some tips of his own on how you can use a Flip camera at events to record simple "man (or woman) on the street" interviews. At a recent conference in London, he shot an number interviews with attendees ad asked them all the same question, "What British communicators hate about jargon?". He was able to get a range of spontaneous and often humorous answers. He also recorded a brief introduction of himself to give it some context, by handing the camera to the last person he interviewed, then edited it all together in Windows Movie Maker on the plane ride home.

Some of they take-aways from the webinar to keep in mind are that you really have to consider have to consider your audience when you produce a video. Is your audience online or on mobile devices? Will the video play a big screen or little screen? Do you need a broadcast quality video production or will a $200 pocket video camera do the trick for you? Flip, Kodak or any other pocket video camera and cell phone cameras provide an immediacy of your subject matter. With the evolution of the UGC-generation we've accepted a lower quality threshold. Things that are little rough around the edges are seen as more authentic.

A Few Parting Tips

• When you're shooting your video don't forget to get a variety of shots as good B-roll.
• Anticipate any action, take charge and remove any obstructions that are in your way, rehearse your interviewees and do a couple takes. 
• Don't be afraid to ask them to start over if you need a shorter take or if they say too many "Umms". 
• If you're using a Flip, try to use a back up audio recorder that has an external microphone. There's a slide in the presentation with a few makes and model numbers you can try, or if you have more than one Flip, set one closer to your subject and splice the audio together when you're editing. 
• What's important though, is to have a compelling story that can be told in 90 seconds or less, good audio and lighting, and a steady camera. That will help not only hold your audiences attention, but also as the title of the webinar says, inform, engage and even entertain them.

Announcing the "Streaming Production & Flash Delivery” Workshop in NYC, March 23, 2010

Streaming media guru Jan Ozer and Flash expert Lisa Larson-Kelly are teaming up to present a one-day intensive workshop on “Streaming Production & Flash Delivery” to be held on March 23, 2010 in New York City. The workshop will feature two tracks, Streaming Production and Flash Delivery, each comprised of two ½ day courses. The workshop courses detail the complete streaming production and delivery workflow, from set design to Flash Media Server setup, from H.264 encoding to Flash Player creation. Jan Ozer, and Lisa Larson-Kelly are both recognized authors, experienced producers and frequent speakers at industry workshops hosted by organizations like Streamingmedia.com and the Media Communications Association - International.

In his morning workshop "Streaming for Production", Jan will cover the creative techniques and tools to produce high quality video productions from cameras, lighting and audio. His afternoon session will focus on "Encoding H.264 Video for Flash, i-Pod/Phone/iPad and Silverlight" with in-depth review of the leading encoding applications, quality settings and workflow. Lisa will cover the technical end of things with a morning session “Flexible Protocols and Custom Player Development” which gets you up to speed on the various delivery methods now available in Flash (including adaptive streaming via HTTP Streaming, P2P via RTMFP) and custom video player development for both the programmer and the non-programmer using Open Source Media Framework. Then in the afternoon Lisa present a “Flash Media Server Crash Course” which will get you going with FMS on how to set up the server, what it can do, and how to do it.

Sign up now before it sells out… this is a one day training session, and there is limited seating!

DETAILS and REGISTRATION: Streaming Production & Flash Delivery Workshop – Eventbrite

Streaming Production Track

Production for Streaming
You can’t have high quality streaming video without high quality video – compression is only half the story. Video Production for Streaming is a focused ½ day course that details how to optimize set design, lighting, and other production techniques for streaming quality. The course will help beginners achieve competency at these skills, while helping experienced professionals new to streaming understand the unique issues related to streaming production.

The course will combine lecture with on-site demonstrations of all equipment discussed, from lighting and audio to cameras and microphones. This will take students “beyond the PowerPoint” and enable them to immediate apply the lessons. Students will be given checklists and procedures for most common tasks, and will return to their offices with the skills necessary to setup and shoot high quality for streaming delivery.

Encoding H.264 Video for Flash, i-Pod/Phone/iPad and Silverlight

H.264 has become the “it” codec, central to the three-screen strategy, but is confusing to produce, with obscure settings (B-frame pyramid?/CABAC?) and encoding interfaces (and output quality) that varies dramatically by encoding tool, plus a reputation for slow playback on some computers.

This seminar cuts through the confusion by describing the most common H.264 encoding parameters, detailing playback CPU load on a range of computers and delineating encoding requirements for computers and the iPod/iPhone/iPad trilogy. It then compares the output quality produced by tools like the Adobe Media Encoder, Apple Compressor, Sorenson Squeeze and Telestream Episode, and concludes by demonstrating how to encode into H.264 format with these tools.

Overall, students will walk away understanding:

• The performance, quality and compatibility implications of all H.264 encoding parameters,
• How to produce for and deliver to Apple’s iPod/iPhone/iPad,
• How to configure H.264 video for optimum quality/playback smoothness on a range of computers
• Which encoding tools produce the best quality H.264
• How to encode to H.264 format using Apple Compressor, Adobe Media Encoder, Sorenson Squeeze, and Rhozet Carbon Coder.

Flash Delivery Track

Flash Delivery: Flexible Protocols and Custom Player Development

In this intensive half-day workshop, students will gain the information and tools needed to plan and deploy web video applications. First, they will learn how to deliver optimized, high quality content with the Flash Platform’s flexible delivery protocols. The pros and cons of progressive delivery, RTMP streaming, and the new adaptive streaming solution in Flash Player 10.1 will be covered, helping to choose the best delivery method for specific audiences. File format details, content preparation tools and workflows will be discussed.

Once students have a clear understanding of optimum delivery methods, we will outline the options for building custom media players. We’ll focus on the Open Source Media Framework, with an overview of its structure and ActionScript classes, along with hands-on examples to get started with the framework. Students will walk away with a basic custom player and an understanding of how to use the framework to build both simple no-code players and complex interactive players that leverage analytics, advertising, and social media APIs.


Flash Delivery: Flash Media Server Crash Course
Flash Media Server Flash Media Server Flash Media Live Encoder

Over 75% of web video today is delivered on the Flash Platform. Flash Media Server (FMS) is Adobe’s streaming server that is powering this content delivery. The latest version of FMS provides robust, scalable live and on-demand streaming, along with powerful features such as real-time interaction, Dynamic Streaming, DVR functionality, smart buffering and more.

Students in this ½ day course will gain a deeper understanding of how the server works, what it can do, and how to deploy streaming media applications that leverage its features. Students will install the Flash Media Development Server on their laptops, set up their first live broadcast, and even see how easy it is to create a custom 2-person videoconference.

Advanced students will learn how to integrate streaming and interaction into their applications, while beginners will leverage the tools and built-in services that ship with FMS, along with time-saving third-party tools, to learn about the server and how to get started streaming. Students will walk away with real hands-on experience with streaming on the Flash

About the instructors

Jan Ozer has produced and encoded video since the CD-ROM days (1992) and has taught courses in video and streaming production since 1994, most recently for the MCA-I and at Streaming Media Seminars in New York, San Jose and London, and for private organizations like Cisco, Lockheed and Johns Hopkins University.

Jan has written many authoritative articles on streaming technologies for outlets like StreamingMedia.com, Digital Content Producer, and EventDV. In January, 2006, Jan released two white papers through StreamingMedia.com, Choosing and Using the Optimal Video Codec, and Choosing and Using the Optimal Flash Codec. In 2007, he released Critical Skills for Streaming Producers, a mixed media training DVD with a mix of PDF, screencam and streaming video sample files.

Jan has written or co-authored 14 books on digital video related topics, including the Hands-On Guide to Flash Video: Web Video and Flash Media Server, with Stefan Richter. One Amazon reviewer commented “From lighting techniques, to what not to wear, to Flash Media Server, this book has it all. … the chapters on compression and bandwidth are excellent.” Another said “For videographers, this is your bible on how to capture video for Flash. For video editors, this is your bible on how to prepare and compress the files.”

Jan also shoots, edits and produces DVDs and streaming media for concerts, ballets and other events, produces training videos for local artisans, and screencam presentations for multiple organizations, including Roxio, ProDad, EventDV and ViewCast. Jan’s blog is streaminglearningcenter.com.

Lisa Larson-Kelley began her career in print design, but was soon lured to digital media by a little application called Flash 4. In addition to hands-on development projects, she enjoys writing and teaching, with a knack for breaking down complex concepts and making them accessible. She has worked with many video-centric start-ups as well as companies like Adobe, Microsoft and L’Oreal. She has authored whitepapers, tutorials and e-seminars for Adobe, editorials and features for StreamingMedia.com; and co-authored the book Flash Video for Professionals (Wiley/Sybex, 2007). An Adobe Community Professional, Lisa speaks at numerous industry conferences and user groups around the world, and is a founding member of the FlashCodersNY study group.

Lisa is currently consulting, teaching, and blogging about Flash video, web development and life (just outside) the big city on her blog, Flashconnections.com — and along with her husband Tom, is raising a healthy, happy daughter (who has an unnatural affinity for all things digital).