Military FamilyAs someone who comes from a long line of military families I can attest to some of the difficulties faced when choosing the military lifestyle. Now that I am part of the Military Families Learning Network, I would like to share some of the reasons why I am so passionate about working with these amazing families.Military families are strong! Military families face enormous amounts of stress yet their strength shines through, all the time, every time!Military families are passionate! They give everything they can to their country and responsibilities with a service oriented mind, body and soul.Military families have a great sense of humor. Even in the face of deployments, stress, war, and injuries they never forget to laugh.Military families always give! No matter how bad things get, military families are always there to lend a hand. From caring for another’s children, to helping those who are sick or injured, the support military families offer to others is ingrained in the culture.Military families are amazingly resilient! Our service members deal with multiple deployments, have lived through a decade of war, relocate regularly and often co-parent at a distance. Yet, they consistently display an intense level of resiliency.The children of military families are amazing too! They adapt through multiple school transfers, sometimes adapting to multiple cultures, deal with being separated from their deployed parent(s), and sometimes deal with serious injuries when a wounded warrior comes home. They struggle with missing their loved ones, family and friends yet they are brave and resilient through it all.Military families take their service seriously. When a service member enlists, it is not a small decision, it is a family decision. At an event to honor Military children, First Lady Michelle Obama expressed her gratitude for military families by stating, “When we talk about service to our country, when we talk about all that sacrifice for a cause, when we talk about patriotism and courage and resilience, we’re not just talking about our troops and our veterans, we’re talking about our military families, as well.” We couldn’t have said it better.The extended family of a military family serves our country too! Parents, grandparents, brothers, sisters, aunts, uncles, cousins and more consistently open their homes to children during deployments. They send care packages to their soldier, and offer unwavering support to the service family. These family members never fail to serve right alongside their soldiers.The love of a military spouse is like a rock! From maintaining a positive attitude during the stress of deployment, to playing the role of single parent, to their unconditional love, support and devotion to their service member, military spouses serve their country just as much as their soldier.Military families stand behind their service member! While loved ones may wipe away the tears when a soldier is deployed, they support that soldier with all their heart. They remain steadfast through the difficult times and the happy times because they know how much it means to their soldier to serve his or her country. And for military families, that is reason enough.Check out the videos below to learn other reasons why member of the Military Families Learning Network are so passionate about serving military families!Dr. Francesca Adler Baeder: What makes you so passionate about military families? Dr. Gary Bowen: What makes you so passionate about military families?Dr. Angela Huebner: What makes you so passionate about military families?Now it’s your turn, why are you passionate about serving military families? Share your story in the comments section below.
June marks the month of Posttraumatic Stress Disorder (PTSD) awareness; a condition which approximately 300,000 service members currently suffer from (RAND, 2008). PTSD is considered a silent, invisible injury that is common in wounded warriors who have been exposed to traumatic events while performing their military responsibilities.The Veterans Affairs National Center for PTSD is challenging service professionals, families and services members to ‘Take the Step’ in raising PTSD awareness this month by offering a four-week informational guide to PTSD learning. Each week the center offers tools to understanding this invisible wound found in so many returning service members.Week 1: Learn about PTSDWeek 2: Challenge your BeliefsWeek 3: Explore OptionsWeek 4: Reach OutWhether you are a health care professional, family member or friend of a warrior who may be suffering from PTSD it is important to encourage public awareness and to provide assistance to those impacted by the condition.This post was uploaded by Rachel Brauner of the Texas A&M AgriLife Extension Service-Wounded Warrior Program and is part of a series of Military Family Caregiving posts published on the Military Families Learning Network blog.
By Bari Sobelson, MS, LMFTpixababy [hand hands finger light trust 1008103 by HolgersFotografie, October 26, 2015, CC0]I have a quick and easy activity for you. I want you to take out your imaginary crayons and paper first. Now that you have those, I want you to draw the first thing that comes to mind when I ask you to create a picture of “therapy/counseling”. Once you have your picture, read on… my guess is that many of you would have drawn a picture of a room with a couch. And, you were probably imagining a couple of people sitting in the room talking about all of their feels? Am I right?If your “drawing” was exactly what I described above, don’t worry. And, if it wasn’t, don’t worry about that either. In fact, there were two points to my little activity. The first one is that therapy/counseling doesn’t always look like many people often imagine. And, the second is to show just how play therapy is designed to work; each person has their own unique creation based on their own unique life story.Play therapy is most often used as a way to communicate with children when they are often unable to express their thoughts and feelings verbally; hence allowing them to create their own type of language. My favorite thing about play therapy is the fact that the children who are participating in it won’t feel like they’re in therapy at all. In fact, it’s designed to feel like only play. But for the therapist, the ways in which the children play tells them a lot about the child.I have asked James Corbin, MSW, LSW, the speaker for our webinar VLE 3: Rebuilding Attachments with Military Children Utilizing Play Therapy, to answer some questions about Play Therapy to orient those of us who wish to know a little bit more.What is Play Therapy?Play therapy is a form of individual therapy primarily with children ages 2-12 (though can be used in forms with adolescent, adult, and family (filial) work as well). It comes in two general forms – Directive – involving therapeutic games, play therapy equipment, and planned activities with a clear therapeutic focus; and Non-directive (or ‘child-centered’ therapy) which employs a humanistic, Rogerian form of non-directed play.How is Play Therapy different than other types of therapy with children?Play therapy distinguishes itself from other forms of ‘talk therapies’ by the employment of play therapy ‘equipment’ that facilitates expression, therapeutic action (problem-solving, role-playing, active learning, etc.) and is facilitated by any therapist trained specifically in the use of play therapy in its various forms.What is your favorite thing about Play Therapy?Play therapy works uniquely with children to help them to explore areas of their experience and lives in a very natural, comfortable, and familiar way. Play therapy can be used alongside other forms of more traditional individual and family approaches to therapy.How can Play Therapy be helpful for military families?Play therapy is a well-suited form of therapy for military families as it allows children to express, explore, and solve their own problems with separation, loss, and other issues that are unique to military families.Is there a certification that a person must have in order to use Play Therapy techniques?No. However, a therapist must have training from a Registered Play Therapist or Registered Play Therapy Supervisor in order to incorporate play therapy into their approach. See the Association for Play Therapy website for more details in this regard.What do you tell people when they have doubts about the effectiveness of play therapy, contending that it is “just playing”?I encourage family members and those who are not familiar with play therapy to conduct a bit of their own research on this unique form of therapy and whether it may be a good match for their family member or client’s needs. If you would like more information on play therapy, you can go to the Association for Play Therapy website and you can visit our learn event page where we will have the link to the webinar presented by Mr. Corbin along with additional learning materials.James Corbin, MSW, LSW has served as full-time clinical faculty and instructor in the Graduate School of Social Work at Temple University. In Fall of 2014, he was appointed as the MSW Program Assistant Director. Additionally, he is the Clinical Director and Lead Developer of the Family Center at Temple University Harrisburg. He is a volunteer therapist for Give An Hour and is an active member of PACares and the Harrisburg Regional Planning Team for Operation Military Kids. His recent work includes the development of the College of Public Health/School of Social Work’s online postgraduate Certificate in Military Counseling program. This post was written by Bari Sobelson, MS, LMFT, the social media and programming specialist Byfor the MFLN Family Development Team. The Family Development team aims to support the development of professionals working with military families. Find out more about the Military Families Learning Network Family Development team on our website, Facebook, and Twitter.
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An important discipline after a feedback session is to summarize in writing what the changes are, how you are planning on addressing them and what time and budget considerations outside of the original brief and scope of work they might involve. This lets the client get a reality check on whether they really do want to spend a further 50% of the original budget doing a re-shoot of the ending. I’ve been there – it was fine for me, I got paid twice!One last thought about the importance of not sitting at the editing controls with the client. It can be tempting for a client to simply control the changes as they happen. Questions that start with ”Can you do X” often have an answer of ”Yes I could… but.”. In our eagerness to please we can start doing rash things, simply because we’re sitting in the driving seat and we know how to do it. I think a better way is to watch an exported film in a different space and have an in-depth discussion about what needs to be addressed. This helps to solidify your position as a co-collaborator rather than a button monkey.If you’re at the final hurdles of a project, you may want to consider sitting together at the editing controls at this point. If you just need to implement the fine grain last tweaks and adjustments you can get their approval then and there. But this should be strictly reserved for the tail end of a project.If you’re having to work in partnership with any of their internal communication or marketing people, then sitting in their office making changes with them is sometimes the fastest, most efficient way to get the job done. Managing a client feedback session can be a make or break scenario. Getting it right will save you a lot of time, effort and anguish and can hopefully help to build your business too.Client feedback sessions are an integral part of any creative project and are especially useful for video editors. Knowing how to make the most of the time, the questions and your answers, is an important skill to develop. Striking the right balance of being able to says ‘yes we can do that’ and ‘no – there isn’t time, budget or sense to do that’ is crucial to keeping everyone involved satisfied. Here are a few suggestions for video editors that might help keep the project on track in your next client feedback session.We’re All in This TogetherOne of the most important things to do is to get all the stake holders in the same room at the same time. Anyone who is going to have a deciding vote in what changes are made, whether it is approved and what really matters needs to be there. Preferably other hangers on and interested parties can be kept out. This is helpful for a couple of reasons: The most vocal people will often speak up first. If you dive straight in to answering their points you might miss out on the balancing effect of the other stakeholders. What is a giant issue to one person, might be a minor point to another. By having them all in the same room at the same time you can let their own debate work itself out. This will hopefully mean that only the truly important and widely held opinions will rise to the surface. How do you get so many busy and important people in the same room at the same time? Tell them that doing one feedback session is a lot more cost effective than doing several. Also it means that the changes can be made all at once rather than incrementally…which should hopefully save time too.BUT what usually happens is that the client also has a a client. You might be working with the head of a division, but if the CEO has to sign off as well then real problems can arise when your client is happy but the CEO hates something major. By finding out who the ultimate sign off comes from, you can try to feed them into the process at an earlier stage rather than waiting for some unfortunate surprises at the last minute. Or if you can’t make this happen, schedule and budget in a ‘final round of changes from the top’, so that everyone is aware this might happen and its accounted for. The Right Kind of QuestionsThe kind of questions that you ask in a feedback session, the precise wording you use, can be extremely influential in eliciting the kind of answers you’re going to get. Personally I’d always try to frame things in a positive manner rather than the negative, and keep the questions as open ended as possible. For example ”How do you feel the film is working?” is much better than ”Is there anything you feel isn’t working right now?” Often people will pick up on something just to have something to say! Asking ”Is there anything you feel we need to change?” is better than “Do you like the music/graphics/grade/pace/etc?”Ultimately there will be things that people don’t like or feel needs to change. That’s the point of the session of course! However, when a problem is raised, make sure to ask a few specific and probing questions to inform the diagnosis. Vague answers like ”It feels a bit slow or a bit serious” won’t give you a specific task to accomplish. Try to get specifics about the problem and ask them to suggest what they think might help solve it, or what they would rather see. This will help you get to the bottom of their issue from the point of view of a potential solution.The Buck Stops Where?Now every client idea isn’t going to be a winner (neither are yours) but by offering a bit of ”loyal opposition” you can push back on the weakest of their ideas and also strengthen them by building upon them with your own ideas. Loyal opposition means fighting for the best possible version of the film that will serve their needs, not yours. Creatives can easily get caught up in protecting ‘my art’ rather than building ‘our project’ or in fact, ‘your project’. Investing our creative time, energy and abilities leads to ownership of a project, but its not ultimately ours to own. Offer loyal opposition but ultimately work in service to their goals. (Image from glsims99 on Flickr)
In this post, we’ve rounded up the best info on aspect ratios – learn how they’ve evolved over time and which one is right for your film or video project!One of the fundamentals of film and video is aspect ratios – the relationship between height and width in regards to image size. The aspect ratio of an image is dependent on the camera in which it was shot, as well as the method used for delivery/projection. Many people are most familiar with aspect ratios when looking at televisions, as we’ve moved in recent years from the classic 4:3 sets to HD widescreen 16:9 sets. These are the two most common video aspect ratios.To understand a bit more, check out this aspect ratios overview from the early days of film to modern HD standards. John Hess from FilmmakerIQ.com knocks it out of the park with his terrific history of film and video aspect ratios:Today HD video is most commonly shot on the 16:9 (1.77:1) widescreen standard, while films often use a 1.85:1 or 2.39:1 ratio.So, with a multitude of choices, how do you know which aspect ratio is right or your film or video project?For a practical perspective on aspect ratios geared toward film and videomakers, watch this quick tutorial from video pros Rich Harrington and Robbie Carman. The Lynda.com tutorial is applicable to all film and video creators, covering topics like shooting for multiple devices and cropping a 4:3 aspect ratio from a 16:9 HD image:Aspect Ratio CalculatorsHere are a few handy aspect ratio calculators that will assist you in determining the aspect ratio for common video formats or scaling an aspect ratio up or down (great for resizing video for web usage).Digital Rebellion’s Aspect Ratio Calculator covers the aspect ratios of common film and video formats including Super16, 35mm, NTSC and PAL.If you need to modify the height or width of your video image but you want to scale it commensurately with the aspect ratio, you’ll need to know the missing variable. For instance, if you change the height from 1920 to 1300, what should the width be to preserve the original aspect ratio? This calculator will quickly show you the missing variable so that you can ensure that the aspect ratio is maintained and the video doesn’t distort. Super useful!Lastly, the following image shows the most common film and video aspect ratios and how they compare to each other in size and proportions:
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Developing a good on-set data management system can free you to be more creative. Here are five ways to do it.I’ve been shooting with the Blackmagic Cinema Camera since they first started shipping back in December 2012. I then added the Blackmagic Production Camera 4K to my set-up when it started shipping. I’ve used both cameras extensively since then. One thing that can become a tedious task is managing data and SSDs on set. It’s not something you want to be worrying about when you should to be focusing on craft of shooting, so it’s good to develop a system that makes this easier. Here are five quick tips that’ll make life a little easier on set.1. SSD TabsGetting a hot SSD out of the camera in a hurry can be difficult. Even more so if you have fat fingers. Add a little tab to your SSD made from a strip of gaffer tape. Now you can grab the little tab when it comes time to swap SSDs. The tab fold nicely into the SSD bay when you close the door.2. Reel Names and Camera NamesNaming your camera and the reels (each SSD) is important when managing a lot of data from multiple cameras. The system I use is to give each camera a letter. A cam, B cam, C cam, etc.Setting the reel name in the camera metadata then writes that info to the name of the formatted SSD and to every clip name. Each time I change the SSD, I then update the metadata before I format the SSD. So on Cam A, the first SSD is named A01 and the second SSD is A02, etc.Sometimes the A cam might be a B cam on a different set-up, so giving the camera a unique ID will also help identify which camera was used. Little things that can be very useful in post.3. Fresh Format to Avoid Dropped FramesWhile SSD’s performance on a computer might not suffer from fragmented data, when using them in camera this can be an issue. Simply deleting your clips from the SSD once you have copied them is going to eventually cause you issues. The camera now has the ability to format the SSD, so there’s no excuse not to. It’s best to always start with a freshly formatted SSD. It only takes a moment and it does not shorten the life of your SSD, as it’s not a low-level format.4. Full or Empty?Keeping track of which SSD has data on it and which is free to use can be tricky. A simple system I use when shooting solo is to have a green sticker on one side and a red sticker the other side. When the SSDs go into the case, all empty SSDs have the green sticker facing up. Once the SSD has been used, I put the SSD back in the case with the red sticker up. At a glance I can see which are free to use.When working with a bigger crew, the AC labels each camera with strip of gaffer tape on the SSD door. This has the camera name and reel number written on it. This tape is then placed over the SSD contacts when the SSD is removed. This way, the DIT knows which SSDs have data on them and at a glance can tell what camera it came from.5. Multiple Back-Ups and Checksum VerificationThe data from a shoot is the most important bit. That’s what you are paid for. If it’s lost or damaged, all the other costs would have been money thrown away. So it’s really important that the data is backed up and verified. Simply using the Explorer (Win) or Finder (Mac) to copy the files is not secure enough. Data could be lost in the process.You really want to do CheckSum verification on any back-up you make and make multiple back-ups. Three copies is ideal, two is the minimum. Give one copy to the Producer before you leave the set so that all the data is not in the same place.I use Imagine Products ShotPut Pro on the Mac. They now offer a Windows version too. You could also use Blackmagic DaVinci Resolve’s Media Clone tool, as it too does CheckSum verification (added in Resolve 11). Other tools you might want to consider: RAW 4 PRO with Backup Champion (PC) or Pomfort ClipHouse (Mac). Both of those also offer tools to color correct and transcode your RAW files.These are just a few things that make my life on set a little easier. Some might be of use to you or might inspire you to develop your own. Whatever the case, the more structured the technical side of your shoot, the more you can focus on the creative side.Were these tips helpful? Got any data management tips you’d like to share? Let us know in the comments below!
We see their names roll by in the credits. We’re familiar with some of the bigger producers in Hollywood. But what does a film producer actually do? (It’s much more than you’d think!)Top image: Hail, Caesar! via Universal PicturesA film begins and ends with the producer. The producer is the catalyst for a project coming together, its complete production cycle and its eventual release, marketing and distribution. A good producer will cultivate a kernel of an idea into something big, tangible and bright on screen.In an interview with Time, Oscar-winning producer Saul Zaentz breaks down the cycle as follows:Zaentz on set with Harrison Ford on The Mosquito Coast via Warner Bros.Find the Literary PropertyA producer is often the person who begins the project by looking for a story to help tell. Whether it’s a true story, popular book or topical event, a good producer is always looking for something fresh and interesting to develop.Shape Idea Into a Viable FilmOnce an idea is grabbed, the producer will work to develop it from an idea into a concept for a film. A producer will work with a writer (or writers) to hammer out a treatment and then a script for production — as well as oversee any rewrites.Raise the MoneyProbably the most important part of the process, a producer will shop a script or treatment around to investors and/or studios to raise funds to actually make it into a film.Hire the DirectorIf not working with one already (or also writing), a producer will vet, find and hire a director for the film. It’s at this point where the producer will (ideally) hand over the wheel and take more of a backseat for the rest of production.Choose the CastUnless the producer has already attached a big name actor to the project, casting is led by a casting director and the director with the producer taking an intermediately sized role depending on knowledge and need. Since the producer is usually the money person, casting decisions often come down to his or her call.Oversee ProductionProduction is lined up with the producer’s oversight, but hopefully by the time the rigs are brought out and cameras and lights set up, a careful and detailed production schedule and budget has been laid out for the director and crew to follow. A producer isn’t necessarily needed for the day-to-day, but it’s not out of the realm of possibility to stop in now and again.Oversee PostDepending on the director’s workflow, a producer will find an editor to put the film together after or toward the end of production. Some directors will stay very involved, while some will fall out and let the editor make changes as needed. A producer will oversee in the same way as production, really only checking in on schedule, budget and major plot concerns.Mastermind the MarketingOnce the film is finished, the producer takes over again. If he or she negotiated and supplied the money, it is more or less his or her product to now sell. A good producer will work with a marketing person or team to develop a strategy to build an audience and hype, as well as submitting for festivals and possibly a tour.Negotiate the Worldwide RightsAfter the product is marketed, buzz has been generated, and its potential has been displayed for distributors, the producer will negotiate its distribution rights, percentage points, and release plan. The producer will then work with the original investors, director and/or stars who have stakes to choose the best path for the film that will reward the investment to its highest potential.Here’s a great breakdown by AMC Movie Talk that goes a little more in-depth between the lines. Have any other thoughts on what a producer does? Let us know in the comments below!
The new Apple MacBook Pro (featuring a new Final Cut Pro) and Microsoft Surface Studio compete for the creative market. Filmmakers, video editors, motion designers, and animators rejoice!Top image via AppleWe aren’t too far removed from Apple changing the Mac Pro from a must-have post-production tool into a bizarre trash can that didn’t work nearly as well as its predecessor. Without the ability to easily upgrade the machine, creatives were left at a crossroads. Plenty of post houses and VFX houses moved to PCs for NUKE and Maya workflows, with some departments switching to iMacs for design work and editing in the Adobe Creative Cloud.Independent video editors seemed to split into PC workflows and the ever-growing mobile video editing laptops like the MacBook Pro. Now Microsoft has announced their new Surface Studio, a 28″ tablet PC, just in time to compete with Apple’s new MacBook Pro. The new MacBook Pro features a multi-touch panel that allows you to do a variety of tasks, like editing video in a new version of Final Cut Pro. Here’s a glance at the future of the creative workflow.Microsoft Surface StudioImage via MicrosoftThis one goes out to the motion graphics designers and animators, the Microsoft Surface Studio is seriously one of the coolest and most innovative pieces of tech that has come out in quite some time. Microsoft has been developing this tech for decades. No joke, I saw one of the first Microsoft interactive tablets on a field trip in grade school in the 90s.The final product is straight out of Minority Report or Tony Stark’s workshop. The 28-inch PixelSense display reacts to touch, and the Surface Dial is a hockey puck style device that allows you to fine tune adjustments or even pull up a color wheel. It also runs like a traditional PC on Windows 10 using a mouse and keyboard.In the past, the Surface has been used in production by director Jorge R. Gutiérrez on the animated film The Book of Life. The Moho 12 app for the Surface Studio works with the Surface Dial to allow animators to move in the timeline, click to play, add new frames, and rotate or zoom the canvas.Images via MicrosoftFor designers using the Sketchable app, the Surface Dial allows you to make color adjustments, rotate or scale the canvas, and quickly access the brush settings.Image via MicrosoftFor video editors, photographers, motion designers, and filmmakers — the Surface Dial also has a variety of tools that let you work in the Adobe Creative Cloud. Microsoft Surface Studio Specs:28″ DisplayResolution: 4500 x 3000 (192 PPI)Color: Adobe sRGB, DCI-P3, Vivid Color ProfilesAspect Ratio: 3:210 point multi-touch Up to 32GB RAMUp to 4GB GPUWindows 10 Pro1TB or 2TB Rapid Hybrid Drive4 USB 3.0 portsSD card readerMini DisplayPort3.5mm audio jack1GB Ethernet portWi-Fi, Bluetooth, Xbox wirelessThe Surface Studio starts at $2,999 and ships December 15, 2016. For more specs and to pre-order, visit the Microsoft store.Apple MacBook ProFor those MacBook Pro users looking for an upgrade, the new laptop offers a retina display multi-touch Touch Bar that replaces the function keys. You can pull up the same keys you have now, but the Touch Bar also becomes an application specific tool. There is also a massive Force Track trackpad, twice as large as previous versions.Image via AppleThe interactive Touch Pad can show a timeline for video editors working in the new Final Cut Pro. The Touch Bar has video player features like play buttons and the ability to scrub through video. The Touch Bar is customizable to user preferences, and allows you to add your favorite controls — like an instant screenshot button.The new Final Cut Pro uses the Touch Bar to show a condensed version of the entire timeline. You can even use it to adjust features like audio levels. Apple didn’t reveal much more about Final Cut Pro, so look for more to come in the near future. They did however claim that the MacBook Pro allows 76% faster video editing. Image via AppleThe four Thunderbolt 3 ports allow you to plug in up to two 5K Retina professional displays and two RAID systems — all running off of the MacBook Pro. For colorists, look for all new Touch Pad controls for DaVinci Resolve. MacBook Pro Specs:13″ or 15″Displayi5/i7macOS Sierra4 Thunderbolt 3 ports8GB memory256GB SSDTouch Bar with Touch ID3.5mm headphone jack (!)The 13″ MacBook Pro with Touch Pad starts at $1799 and 15″ at $1999. You can order now and they will ship in 2-3 weeks.
3. Consolidate RevisionsImage via debasige.However, reviewing in real time doesn’t completely streamlines the process. Unless your videographer or editor is on a retainer, running with revision requests off the top of your head can really hold up a project. Instead, many video professionals will push for a consolidated list of revisions to knock out in one batch edit. This is especially true when working with a middle man or agency. To save the most time (and the most unnecessary rendering time), the onus falls to the client to make sure all stakeholders have had a chance to view a draft before sending over consolidated revisions.4. Download Final Videos (and Assets)Image via GaudiLab.Another concern that may seem obvious to video professionals is transferring videos and assets. While working with cloud services and video-hosting platforms may seem simple on the upload, for those unfamiliar with these services, knowing to download all the assets, view them properly, and then store them isn’t a given. For many in the profession, sites like Vimeo are standard for sharing videos (clients can download directly from the site), while sites like DropBox make sharing project folders with RAW files and assets easier (read about it here). It’s also worth noting that professional services like these are often monthly or annual expenses that video professionals have to cover just to ensure they can work with clients when projects arise.5. Upload to Their SitesImage via Leif Eliasson.Similarly, when clients do successfully download their final video, it’s not always immediately clear what they should do with it. Ideally, the video’s purpose and distribution is something videographers and clients will discuss early on, so the crew can keep these things in mind during production. A video for a television broadcast requires a much different shoot than one intended for Facebook and Twitter. When a project is complete and delivered, the client might still need some hand-holding during the uploads to platforms like YouTube, Vimeo, Facebook, Twitter, and even Instagram.Here are some resources for uploading best practices.Everything You Need to Know About Putting Your Videos OnlineHow to Properly Export Video for VimeoEverything You Need to Know Before Posting Your Videos on Reddit 6. The Cost of ArchivingImage via AH Images.Once final videos are delivered, many clients assume that the videographer saves all RAW video files and assets forever. It’s not uncommon to get an email a year later from a client asking for the files for some other video project — or for an updated version. However, archiving footage and assets is no small task. When done correctly, archiving is an involved process that takes up both time and hard drive (or cloud) space. Discuss archiving with the client during the initial conversation about the scope of work, and then account for a few hours (or even a few days) to archive, back up, and store the project properly.Here are some tips and tricks to refine the archiving process.Archive Your Project With the Premiere Pro Project ManagerThe Best External Hard Drives for Video EditorsPremiumBeat Backup Archives Before you start your next corporate or commercial project, share these points (or this article) with your favorite clients.Cover image via Monkey Business Images.There are many things you might take for granted in the film and video industry. This might include things like filmmaking terms and lingo, intrinsic costs and values — even just a basic understanding of how long it takes to plan, shoot, and edit a video from start to finish.However, for those outside the field (i.e. your video production clients), all the aspects and moving parts of video production can be confusing.To streamline the relationships and expectations between both parties, here are seven helpful things video professionals can share with their favorite clients before jumping into a project.1. The Importance of ContractsImage via Gajus.For clients unaccustomed to working with video professionals (or any creative services, really), the importance of contracts or “statements of work” can seem a little unnecessary. I mean, if you agree to a project, shouldn’t it be easy to see it through then simply invoice for it later?Well, for film and video folks, it’s really not that simple. Often, there are expenses we have to pay upfront to even get started on a project. Whether that’s renting cameras or gear, modifying or performing upkeep to existing gear, hiring other shooters or crew members — it can add up quickly.Film and video projects can also often be difficult to define in terms of scope of work. If your upfront agreement doesn’t take changes, delays, or setbacks into account, then you can end up with disparities between an agreed-upon price and the final amount of work.Sitting down together and building out a solid contract for a project, which defines everything start to finish, benefits both parties. It eliminates unnecessary back-and-forth on revisions, and it provides stability for video professionals so they can make the necessary arrangements to dive right into the work.2. Access to Drafts and Review ProcessImage via GaudiLab.Technology has truly revolutionized what used to be perhaps the most arduous part of any film or video project. Sharing drafts and revisions between clients and video professionals has never been easier — and it’s still just as important as ever.Some clients like to keep tabs on projects throughout the entire process. This gets tricky, especially during editing. But if you use one of the collaborative sharing services below, clients can review drafts in real time.Screenlight.tvWipsterFrame.ioVimeo Review 7. Maximizing Their InvestmentImage via DisobeyArt.Finally, once everything is said and done, clients need to feel confident that they’re doing everything they can to maximize their investment. It’s just as frustrating for video professionals to send something off and see it misused or underutilized as it is for clients to fail to see the return on the investment they’d hoped for. Social videos, for example, need optimization for the best return. If you discuss the nature of the project early (one-off or campaign?), you can deliver evergreen content rather than something that will really only perform well once. There’s a lot to read up on, but here are some good resources to keep in mind.Facebook Hack: How to Optimize Your Video PostsGetting Flagged on YouTube or Vimeo? Here’s Why5 Quick Tips to Boost Your Video’s YouTube Rank3 Things You can Learn about Video Marketing from Wipster’s CEOMust-Know Filmmaking and Music Trends for 2018
Documentary film is only as good as its story. Consider the following filmmaking advice when capturing documentary exposition.To tell a good story, you have to get really good at exposition and setting things up. For documentaries, in particular, this can be tricky because you’re often dealing with real-life people and complicated issues.In my time as a run-and-gun documentary journalist, I had to develop many different ways to help tell (or often, show) the who, what, when, where, and — most importantly — the why of your documentary’s story.There are several tricks for this — some simple and direct, a few more complicated and stylized. So, if you’re setting out on your own documentary storytelling project, here are some filmmaking tips for capturing the who, what, when, where, and why.Scene-Setting Exteriors and SignageI’d say that the most common (and often, obvious) way to set up exposition for your documentary story is with your standard exterior shots. These can often be pretty boilerplate, and you’ll also see them in similar corporate and commercial-style projects, but if done right, they can be quite cinematic and helpful.When shooting exteriors, you’re looking to capture the “where.” Try looking for shots that are as wide and expansive as possible, to give context into where you’re shooting. From there, you can start to focus in on the who, what, and when.If you’re shooting a documentary about a basketball player, for example, starting with a wide exterior of the player’s high school gymnasium (hopefully with a sign out front) would be a good way to begin.Thematic Close-Up RevealsImage via guruXOX.Instead of starting as wide as possible, you can also consider starting with a close-up on some item (or perhaps person) to begin revealing visual information early.From close-ups, you can build intimacy — as well as insights — into the “who” or “what” of your documentary’s story, as you get wider to reveal more.Using the same basketball documentary example, you could also start with a macro-lens focusing on a basketball, or the player’s shoes, before slowly revealing the player in question.Straight from Your SubjectOne of my favorite techniques for getting the who, what, when, where, and why exposition for a documentary project is by simply asking your main subject to give it to you. Sounds crazy, right? And I have to say that, from experience, not every subject can deliver the goods. But if you have a particularly talented individual who likes to talk, they can be very valuable in helping you set up your story.My usual opening question would go something like this: “If you don’t mind, could you introduce yourself to the camera and tell us who you are, where we are right now, what’s going on, and . . . why does that matter?”At the very least, you’ll have footage of them introducing themselves, which can be useful in the edit. However, if they are blessed with the gift of gab, you might find yourself with a soundbite succinctly and authentically establishing all the exposition you need.Text and Lower ThirdsImage from Rocketstock’s “Equation” pack.Alternatively (and don’t take this advice as a cop-out to setting exposition organically), you could always use text on-screen and/or lower thirds to establish a good deal of the who, what, when, where, or why information.Text on-screen can be powerful when used sparingly. Date and location are usually the primary facts to put on-screen for context — especially if you’re dealing with multiple timelines in your documentary.Lower thirds are also very much a part of the documentary lexicon, these days. So no one will blame you for using them to tell your audience the “who” for your subject’s name — and perhaps a little information about their title or relevance.And there are some great resources online for working with text and lower thirds, which can make your documentaries a little more stylized. Here are some text templates and free animated lower thirds.Counterpoint: Try Hiding Some ElementsAs you grow as a documentary filmmaker, you’ll begin to recognize which of these expositional elements best suit your project. In many cases, once you really define your stories (and narratives), you may find that it can be beneficial to not provide your audience with all the information, right away.If you’re editing your documentary project, as well as shooting, try experimenting with what information is most captivating to an audience (in the beginning) and what information might be best to bury for a later reveal.Cover image by Elizaveta Galitckaia.For more documentary filmmaking tips and tricks, check out some of these articles:Make Your Documentaries Matter with Awe-Inspiring MaterialA Complete Guide to Documentary FilmmakingThe 6 Types of Documentary Films7 Reasons Why You Need a Producer for Your DocumentaryDocumentary Editing Tips for Working with Lots of Footage
Salespeople don’t fail because they can’t learn to sell. They fail because they are unwilling to do what is necessary.
Get the Free eBook! Learn how to sell without a sales manager. Download my free eBook! You need to make sales. You need help now. We’ve got you covered. This eBook will help you Seize Your Sales Destiny, with or without a manager. Download Now Some people avoid change. They wait too long to decide to change and suffer the consequences or pretend to change without any meaningful difference in what they do day-to-day. For any number of reasons, be it apathy, complacency, negligence, or not wanting to deal with the work required of real change, they maintain the status quo for too long. To help them, you may need to find leverage points that help compel change.Revenue Risks:When your dream client waits too long to make some necessary change, one of the risks is lost revenue.I once spent three years trying to convince a client to change. They resisted my advice, believing things hadn’t changed. Then they won and lost four new clients within eight weeks because they failed to make the investment I advised them to make. The revenue they lost was not unsubstantial, but when you look at through the lens of lifetime value, it was enormous. Worse, it was unnecessary.Lost revenue can be an effective lever when it is indeed a risk, and when you can meticulously explain why and how your dream client is going to lose it. That said, most of us learn the most important lessons the hard way.Profit Risks:A variation on financial leverage. Sometimes lost profit is more of a motivation to change than revenue, profit being something better than revenue in most cases (revenue is vanity, profit is sanity).A company I know lost $7,000 per hour when their machinery was down. They struggled with the idea of investing in means that would provide an insurance policy, even though the investment was a fraction of what they lost. Instead, they just wanted the machines to keep running. Sadly, wanting things to be some other way than they are without changing is a recipe for suffering.In the end, they invested. Protecting their profit was enough to compel change. What does it cost to maintain the status quo?Market Share Risks:Slow movers can lose market share. The taxi industry is giving up revenue to Uber and Lyft right now. Had there never been an Uber or a Lyft, that income would have belonged to taxis. If there had never been an Amazon.com, Brian and Jane would still be selling me books, but sadly, they closed up shop. Local bookstores are essential, and you should visit them as often as you can.You will find people for whom market share is a metric worth protecting, worth investing in, and worth growing. In some cases, the client is involved in a “land grab,” a contest to capture more ground faster than their competitors can. Some senior leaders have shared with me their goals to exceed the market’s average growth rate, a way to ensure they are growing not only sales but also their share of the overall market. If the market increases by 4% in a given year, they want 12% growth.Risks to market share provide powerful leverage when that metric is important to your dream client. What are the risks of losing ground?Enterprise Value:Mistakes and missteps that cause stock prices to drop results in decline in the value of the enterprise. Some people are compensated on such metrics measure their success by the overall value of the enterprise. Even though measurements like shareholder value are now falling out of fashion, I am incredulous that these financial metrics will disappear. The value of the enterprise is one way to assess how a team is doing managing the enterprise.Companies go to great lengths to sustain and improve their stock prices and the value of the enterprise. If something puts the value of the enterprise at risk, you have the leverage to compel that change. Larger, publicly-traded companies are full of people who care about these financial metrics.Some people wish to avoid negative consequences and are compelled by positive improvements—or at least staying the same.Positional Risks:The person or people you are working with may be averse to losing their position, their status, or sometimes their employment.This is not leverage easy to use unless your contact hands it to you themselves. It is mostly unspoken, but those who pay attention and read between the lines can perceive their concerns. If a person believes they’re going to personally lose their role, their position, or their status, their willingness to make change increases.Be wary of using this leverage. It often comes with more risks than benefits. Instead, focus on how you can help your contacts succeed.Execution Risks:Because you are here, you probably work in sales. If this is true, you run into people and companies that are not executing because of something they need to change, know they need to change but have refused to change. Because they have been heretofore unwilling to change, they cannot execute effectively.The implication of an execution risk might result in one or more of all of these risks. It could also result in lost clients, who, after patiently waiting for their partner to produce a result, gives up and moves on.All of these are leverage points that compel change. They are also genuine threats to your clients and your dream client’s businesses. The leverage that comes from adverse outcomes and negative consequences is a heavy stick, and it isn’t something you should use to bludgeon people. Your sales bedside manner matters, and it pays to be a diplomat, one who can have a difficult conversation without causing the other person to feel the need to defend themselves.
Former Defence Minister Manohar Parrikar on Friday said an “insulting” question by a television anchor to Union Minister Rajyavardhan Singh Rathore after the 2015 anti-insurgency operation along the Myanmar border prompted him to plan last year’s ‘surgical strikes’ in Pakistan occupied Kashmir (PoK).Speaking before a gathering of industrialists in Panaji on Saturday, the Goa Chief Minister said, “The surgical strikes against militants in PoK was planned 15 months in advance.”On June 4, 2015, northeastern militant group NSCN-K ambushed an Indian Army convoy in Chandel district of Manipur and killed 18 jawans.Mr. Parrikar said when he was informed about the incident, “I felt insulted….A small terrorist organisation of 200 people killing 18 Dogra soldiers was an insult to the Indian Army and we sat in the afternoon and sat in the evening and worked out the [plan of] first surgical strike, which was conducted on 8th June morning in which about 70-80 terrorists were killed [along the India-Myanmar border].”“It was a very successful strike,” he said, adding that on the Army’s side, the only instance of an injury was a leech attaching itself to a soldier’s leg.Contrary to some reports, no helicopters were used. “I had placed helicopters [on stand by] only in case of emergency evacuation,” he said.“But one question [from media] hurt me. Rajyavardhan Singh Rathore, an ex-Armyman, was on TV and he was explaining about all kinds of search operations. An anchor asked him ‘would you have the courage and capability of doing the same on the western front’,” Mr. Parrikar recalled.“I listened very intensely but decided to answer when the time came. The starting of September 29  surgical strike on the western border was 9th of June, 2015….We planned 15 months in advance. Additional troops were trained. Equipment was procured on priority basis,” he said.The Swathi Weapon Locating Radar, developed by the DRDO, was used first in September 2016 to locate “firing units” of the Pakistani Army, though the system was inducted officially three months later, Mr. Parrikar said.Thanks to this radar, 40 firing units of the Pakistani Army were destroyed, he added.
PANAJI: Bharatiya Janata Party (BJP) MLA Nilesh Cabral on Wednesday threatened to sit on a dharna if the culprits behind the mass desecration at a Catholic cemetery in his constituency were not arrested before the end of the monsoon session of the Goa Legislative Assembly. The session is scheduled to begin on July 18.“These desecrations are a threat to my government. Police have to act quickly and arrest those responsible for the desecration,” said Mr. Cabral.Meanwhile, a delegation from the Goa NCP called on Governor Mridula Sinha and Director General of Police Muktesh Chander, and submitted a memorandum seeking prompt action against miscreants. NCP Goa president Jose Philip D’souza led the delegation.
Bihar Chief Minister Nitish Kumar on Monday said it was his duty was to raise the issue of central university status to century-old Patna University (PU) “again and again” whether the Centre accepts it or not. Prime Minister Narendra Modi had not entertained the CM’s request on the issue during his visit here on Saturday to attend the centenary celebrations of PU.“Patna University holds a special place in the hearts and minds of the people of Bihar. The demand for a central status is not new. At the centenary celebrations on Saturday, I had only voiced a long-cherished wish of the people of the state”, Mr. Kumar told reporters after the weekly ‘Lok Samvad’ (Public Interaction) programme. Minutes after Mr. Kumar’s plea for central status to PU, Modi had said the central status was “a thing of the past” and called upon Patna University to avail of the Centre’s scheme to make at least 20 varsities in the countries world class with a financial assistance of ₹10,000 crore.“Its my duty to raise the demand (for central university status to PU) again and again whether the Centre accepts it or not. I have no reaction over the Centre’s decision,” Kumar, who graduated from Patna Engineering College (now NIT) in early ’70s, said. Kumar said that he had raised the issue several times in Parliament when he was an MP. On the poor condition of universities in Bihar, including PU due to shortage of teachers and infrastructure bottlenecks, he said as per constitutional provisions the state government’s responsibility with regard to universities is limited only to providing finance. The rest come under the jurisdiction of the chancellor, who is the governor of the day.“We would have done a lot more ourselves had the system been different,” he said adding Bihar government provides ₹4000 crore annually for universities. For other issues since neither I nor my cabinet have any role in the daily running of universities, we can’t intervene directly,” the CM said.
Senior TMC leader and Member of Parliament Kalyan Banerjee on Friday sustained injuries when a taxi rammed his car in south Kolkata, a police officer said. Mr. Banerjee had to be hospitalised as he suffered minor injuries and complained of chest pain, he said. “The incident happened at 8 a.m. when the speeding yellow taxi crashed into Mr. Banerjee’s car,” the officer said.
The Centre has stopped free rations and other facilities such as daily cash allowance for Bru refugees who have refused to vacate the relief camps in Tripura and return to Mizoram. The deadline for the refugees to return expired on Sunday.“We have stopped the supplies as per the directive of the Centre. At the same time, we are trying to convince the refugees to accept the rehabilitation package and go back to Mizoram,” R. Darlong, magistrate of Panisagar subdivision in North Tripura district, said. There are three relief camps each in Panisagar and Kanchanpur subdivisions of Tripura bordering Mamit district of Mizoram. Most of the Bru refugees are from Mamit, from where they had fled in 1997 following an alleged ethnic cleansing by the majority Mizos. Each adult was being provided 600 gm of rice and ₹5 per day, while each minor was entitled to 300 gm of rice and ₹2.5 daily at the relief camps. Other facilities included 7 gm of salt per day, a pair of slippers per year and a set of dress every two or three years. “It is not easy for people who have lost everything to return with the package on offer. We have certain issues to be addressed. Besides, the government should have provided more time for repatriation,” A. Sawibunga of the Mizoram Bru Displaced People’s Coordination Committee, said. Of the 5,407 refugee families comprising 32,876 members, only 45 families have accepted the package so far and returned. The package includes ₹4 lakh in fixed deposit per family, ₹5,000 as monthly cash assistance, free rations for two years and ₹1.5 lakh in three instalments as house building assistance.