Content Marketing & Film Resource (5)

3 Easy Ways to Transcribe Video

Erin Hayes December 08, 2015 Strategy, Video, Tips & Tricks Leave a Comment

Why should you transcribe video?

Before we discuss how, let me answer the why

You just spent all this time producing a video, can’t you just post it and move on the next project on your To Do list?

Well, technically, yes. You can.

But if your goal was finish a race, would you stop just short of the ribbon? Why not carry through all the way?

The bottom line is that transcribing your video opens your content up for a wider audience.

When you transcribe video you make your video viewable in noise sensitive environments. If a potential viewer is on a noise bus, they can now understand your video. If your viewer is in waiting room or at work, they can now understand your video.

Hearing impaired viewers can watch your video and get your message. Transcribing also helps English Language Learners follow along with your content (not to mention, now you can translate your video’s transcription!).

And, transcribing video helps your SEO.

Google crawlers index text. This is why your meta description, title and tags are all so important. But when you transcribe video, you open all of that content up for Google to index.

Amazing, right?

According to Cambridge-based transcription company, 3PlayMedia, their clients This American Life and Discovery Digital Networks saw a significant increase in views on captioned videos.

For example, TAL saw organic search results increase 6.68%. Their inbound links directly attributable to transcript pages increased 3.89%. [Download 3PlayMedia's white paper here for more in depth analysis]

Convinced transcribing is a good idea? Good. Here are three simple ways to get it done:

Do It Yourself

You could always do it yourself. All this involves is your time and your attention.

However, this is our least recommended route.

Transcribing is more time consuming than you may think. Especially if you are not accustomed to the process. It could take you ten times the length of the video for you to accurately transcribe it. If you have many videos to transcribe you could be looking at entire days taken up by this tedium.

Have YouTube Do It

YouTube has a transcribe option in their video editor. Using it as simple as using YouTube.

Now, word from the wise: YouTube is hardly accurate. You will need to scrub through these transcripts and make edits. It’s not quite as time consuming as doing it yourself, but it’s not as hands off as hiring someone else to do it.

Here are a few screen grabs from our experience transcribing our web series, Partners:

Where to Find YouTube Caption Tool

YouTube Gets Captions Wrong

How To Fix YouTube Captions

And that leads me to No. 3...

Hire Someone To Do It

Google “Transcribe Video” and you’ll get pages of results pointing you to different services that would be happy to have you hire them to transcribe you video for you.

This option is particularly great for off-the-cuff presentations, ensemble pieces or conference videos. Transcribing video can be time consuming and many of these services make it affordable to have it done by a third party.

We offer to transcribe the videos we produce for our clients as part of the package. We take pride in our videos and want to enable our customers to be as successful with their premium content as possible.

Curious about our production process?

Additional Resources:

Strategy Video Tips & Tricks

Scott Weiland / STP "Atlanta"

Ian Barrett December 04, 2015 Video Leave a Comment

I had the opportunity to record Scott Weiland and Dean DeLeo performing "Atlanta" in 1999 - right after Scott completed rehab the first time.

The song is about the end of his relationship with his ex-wife.

We are devastated by the loss of Scott and our hearts go out to his friends and family.

Video

4 Common Misconceptions About Video Production

Erin Hayes December 03, 2015 Production, Tips & Tricks Leave a Comment

]Businesses small and large are creating and distributing video content more than ever.

Despite its popularity, the process involved in producing a successful video is often misunderstood.

Clients come to us feeling overwhelmed by the complexity of the process just as often as they come to us expecting it to be a snap.

In this post, we clear up four common misconceptions about video production we've come across in our years as video producers.

1. Just Press Record

There’s a lot of prep that needs to happen before a camera op presses record and answers, ‘speeding’ to a director.

Capturing a professional and effective video is not as simple as going for a take as soon as the subject walks on set.

The production crew will need to light the set. They'll make tailored adjustments to the lighting and camera angles once the subject is on their mark. And they'll need to test the audio to make sure it's perfect.

This takes "as long as it takes" to get right and make your video look and sound amazing.

It’s a good idea to figure in at least 20-30 minutes for setup depending on the complexity of the set/scene.

If you have actors that need makeup and hair, add another 30 minutes per person.

Once makeup is done, the lighting is perfect and the audio is pristine, the director will let the crew know it’s time to record.

2. Don't worry, we can fix it in Post.

Every once in a while we're asked to take someone else's footage and "fix it" for a client. There are tweaks that we can make, but ultimately, poorly executed video production cannot be fixed in post-production.

Yes, footage can be color corrected and low audio can get boosted (to an extent) during the editing process. But, if you didn’t light your video well, compose your shot right and didn’t test your microphones, the only step you can take is re-shooting your video.

Poor pre-production can’t be fixed in post either.

There isn’t a De-Awkward-izing Filter in post-production software. So, if your actors don’t know their lines or aren’t familiar with the script, post production won’t be able to fix that.

If your storyline or pitch is weak in pre-production, then the final product will be weak, too. Sure, editors can add quick cuts and a thrilling music track to pick up the pace of the video. But it won't fix the content.

Bottom line, preparation is everything. The weeks leading up to the shoot are just as critical as the production day.

Make sure your script is tight, your subjects rehearsed and you hire a professional production crew.

3. It Costs More Than It’s Worth

A good video does not cost more than its worth.

Video is considered to have the highest ROI our of any visual content by 51.9% of marketers, according to eMarketer.

And in terms of biggest bang for your buck, consider this: A one-minute video is worth 1.8 millions words.

Video Brewery made this comparison:

"...That’s the equivalent of 3,600 typical web pages. If you write an average of one web page an hour, it would take you 150 days of writing to achieve the impact of one minute of video."

What would it cost you to pay a marketing consultant to write one web page an hour for 150 days?

Well, if you hired a consultant at $50/hour to write for 8 hours every day for 150 days, it would cost you $60,000.

Sure, a one-minute video could cost you $60,000. But if that's outside your budget, there are plenty of excellent, less expensive options.

Don’t get me wrong. I’m not saying cheaper is better, either. A bad video is never worth what you paid for it.

The key to making sure that your video is worth what it costs to produce is hiring the right video production partner.

We'll write more on that in another post.

4. It was shot today so we’ll get a finished product tomorrow.

In today’s Need-it-Now world of smartphone video uploaded directly to YouTube, it’s not surprising that this is a common misconception.

When it comes to professionally produced video, the timelines are longer. How much longer? It depends on the complexity of the project.

Once footage is shot it needs to get backed up and imported into a system.

There is no easy chart to definitively determine: "This amount of footage will take this long to back up and import."

Different file types take different lengths of time. Some import in real-time, some import faster. Some file types take exponentially longer to import.

Let’s say you shot an hour of footage with two cameras and an additional 30 minutes of b-roll (supporting background footage).

If we use the rule of averages, the backup/import process will take half a day.

Then an editor will want to go through the footage so he or she is acquainted with the project.

The time this takes depends on the editor and his or her process.

But a professional will want to take the time to make sure they’ve seen everything that was shot.

This way they can create the best possible final product.

Then, the editor will create a first version. This is their first pass at executing the producer’s vision for the video.

The producer and the editor will watch the first version together and the producer will let the editor know if he or she is on track.

Once the producer signs off on the first version the editor will go for a final version.

If the final is approved by the producer, then the editor will begin the finish edit.

In addition to editing the story together, the editor also color-corrects the footage, adds graphics and music, sweetens the audio, etc. All of this takes time to do...and time to render.

Editing is tedious. It isn’t a process you’d want to rush if you care about quality.

It’s possible to have a video turned around in a two or three days if you’ve paid for a rush fee. But generally speaking, you should expect anywhere from a week to a month turn-around.

Again, exact timing depends on the length and complexity of the video.

Video is an immensely powerful marketing tool if done right. Treat the production process with respect and you’ll be satisfied with your end result.

If you’d like to learn more about our production process, check out this resource.

And if you have questions about an upcoming project, we’d love to talk!

Production Tips & Tricks

In Post We Trust: Our Approach to Editing Video

Monica Duque December 01, 2015 Production, Video, Tips & Tricks Leave a Comment

Back in the day when I was producing weekly shows in Colombia, I remember putting all my faith in “Alvarito”, my editor.

This guy was a magician! Not only an efficient operator but an organized mind, capable of giving a nice finished touch to our projects. A guy who took our job seriously and always gave every edit his best.

At the time, I enjoyed the power of keeping things under control. It was a lot of responsibility but I loved it.

My agenda was always organized; is the driver on time? Is the gear checked? Is the crew ready? But even then there was always a risk of something going wrong.. Why? Ask Murphy. It’s the law of production.

Luckily, I had “Alvarito” to help me trough those tough moments. I’m not gonna lie, post-production was my lifesaver a few times.

A few years later I became an editor and as “Alvarito” I challenge myself with each project. I came to find editing very similar to puzzles. My job is getting the best pieces of raw footage and telling stories by putting these pieces together.

Video is the go-to visual content today for a large number of businesses – so editors, we have a lot in our shoulders!

Editing, like storytelling, is all about the small details which helps to design a product that will speak to your target audience. Full disclosure: I'm not one of those editors who takes the footage, logs and transcribes each shot into text. That takes forever and I find it limits my creativity.

Here is how I do what I do:

Take a deep breath and dive in.

Sometimes projects get confusing, especially if I wasn’t in the shoot. So, I take a deep breathe, set up my timeline and just get to work creating my wide cut.

At this point I don’t pay too much attention to shots, narration or sound bites. I just try to take my best shot at telling the story I want to tell.

Then, I watch it front to back; no matter how long it takes or how boring it sounds. This is the moment when I get the key pieces of my puzzle - when I establish the line I want to follow.
I mark all those moments I know I’ll need and everything starts to make sense. For sure my next cut will be more clear and tighter.

Focus on the design.

By the design I mean all those details that enhance my edit, like music, Color Correction, GFX, VO, FX and much more if needed.

Watch it again.

If the result gets me close to the goal, I put on my brave boots and call the director and/or producer for their approval. I’m glad to say that most of the time I just have to adjust a couple of shoots or frames, render and goodbye! - getting OFFLINE before 5 pm.

Being able to customize elements makes me valuable as an editor and having freedom to shape stories makes my job exciting. Yes, some projects ask to be treated by the script, but b-roll and design elements allow for plenty of creative freedom.

Here are some tips that help me on my day to day job:

Take some time from the edit.

After spending so much time in the same edit, it’s easy to become desensitized to the material. So it’s important to step away. Taking a break from an edit and returning with fresh eyes can help you to do a better job.

Avoid one camera angle.

If your material includes multiple cameras angles, take advantage of it and make sure you switch among them. That makes your product more dynamic and interesting.

Once your audience gets the idea of space, you can avoid wide shots and jump into medium and close ups. It’s engaging to watch body language and facial expressions.

Remember, you are taking your audience on a journey with your video. Make sure you are using the best shots to achieve your goal and reach the viewer's expectations. Don’t forget, what you may have is less than 30 seconds to grab people’s attention So get them as quickly as you can!.

Never stop learning.

As editors we need to stay fluid and learn new tools. Make sure you can create an experience for the viewer. Motion graphics, voice over, animation, color correction, matched footage from different sources – these will help you create a dynamic product. You have a lot to do more than just edit.

Become a storyteller.

Also, knowing what works for your edits is more important than operating the software. Your goal is to create video that people will enjoy watching. Storytelling is definitely more important.

Respect the job.

Behind every video there is more than a tired editor. There is a supporting team.

If you are not an expert, hire one. I respect this job, and editing is not just cutting and pasting. It takes years to get good at it and that’s why hiring a professional makes sense. You get the best product this way.

If you're looking for inspiration on what content you should include in your video marketing strategy, download our Guide to the 7 Must-Have Videos:

Additional Resources:

Production Video Tips & Tricks

Our Top 10 Favorite Halloween Movies

Erin Hayes October 29, 2015 Creativity, Fun, Video Leave a Comment

Welcome to our super spooky Halloween Episode of Beer & Gear!

What's your favorite Halloween movie? You've got to have at least one.

MediaBoss Animator/Graphic Designer, Nick Clarke and I share our top 5 favorite Halloween movies. And because there are two of us, you get 10 great flicks for the price of 5.

And if you're not a fan of scaring the sh** out of yourself for fun, don't worry. There's something on this list for you, too [full disclosure: Goosebumps still gives me nightmares].

Here's the list written out. For our ridiculous commentary on why we like these movies, you'll have to watch the video!

Nick's #5: The Evil Dead

Erin's #5: Curious George's Boofest

Nick's #4: Beetlejuice

Erin's #4: Shaun of the Dead

Nick's #3: Night of the Living Dead

Erin's #3: Young Frankenstein

Nick's #2: Scream

Erin's #2: Witches of Eastwick

Nick's #1: A Nightmare on Elm Street

Erin's #1: Hocus Pocus

Let us know your favs in the comments!

Creativity Fun Video

Making the Pilot: A No Nonsense Guide to Pilot Production

Ian Barrett October 27, 2015 Creativity, Production, Tips & Tricks Leave a Comment

Pilot production is tough.

There’s a lot riding on the pilot. This single episode needs to present all the unique characteristics of your production and sell sponsors or networks on your idea.

If you are talking to networks, they generally fund the pilot. You would have already attached a director and talent to the production and the network would generally set you up in one of their studios to create the pilot.

To be clear, this blog isn’t about that.

It’s about you.

You don’t have a network budget, but you do have a great idea and some money. And you really believe your show idea can go somewhere.

It’s time to put that script and that budget on the line and get it made. But where do you start?

First, let’s dig a little deeper.

Many show pilots go on to become the first episode in a series. ‘Great!’, you think. ‘One out of the way.’

Well, yes and no. Because of this, there’s quite a bit of pressure to immediately engage and capture an audience.

Now, Netflix released some interesting data this fall that shows the pilot is rarely the episode that hooks a viewer. In fact, according to their data, that magical episode is usually between episode 2 and 8!

However, that doesn’t mean that the pilot can be phoned in. A 22 episode story arc won’t mean anything if the pilot falls flat on its face. Because chances are, you won’t be given the chance to either:

a) produce the remaining 21 episodes or

b) air the remaining 21 episodes.

Another obstacle is that your pilot really needs to look as much like a typical episode as possible.

That means it’s necessary to work as hard as you can to nail talent, locations, costumes, props, lighting and camera all at the same time.

What’s changed about the business is that web series have become the new concept development hot bed.

This means you can make a successful web series and get the attention of anyone from Producers to Network Execs to the actual Agents who are looking for vehicles for their clients.

That’s how “Broad City” came to the attention of Amy Poehler. She stepped in as Executive Producer and got them their deal.

1. When do I know I need to make a Pilot?

When people approach us about producing their show pilot, it’s usually because people have expressed interest in their show idea.

Whether it’s an unscripted or scripted program, they need a pilot to fully pitch a network or sponsor and get the series funded.

Thanks to the rise of online video series, we’ve seen a spike in interest in pilot production in recent years. This is largely due to the fact that the number of outlets has gone from a few to hundreds.

And there is an entire business for branded web series (sponsored original content) outside of any network or distributor.

2. How much does it cost?

That’s always the first or second question people ask us, and we respond the same way every time:

How much does a car cost?

How much does a watch cost?

How much does a stroller cost? (new dad, here.)

It’s absolutely relative. But the important factors are the scale of the production: i.e. the number of days of shooting, locations, props, costumes etc.

What’s important is that your pilot looks like you are invested (read: you spent a lot of money).
Good production is absolutely the key component to making the people who watch your pilot go, “Wow” instead of “Ummm, we’re not interested.”

On our end we do everything on a fixed budget. This means you pay us and you get a guaranteed broadcast quality pilot that you can show to networks and sponsors alike, with no post-production surprises.

In addition, every element of the production will meet broadcast standards. This is critical, because in many scenarios your pilot becomes the first episode of the series.

You don’t want to do this twice. And in most cases, you won’t get that second chance, anyway.

3. What’s involved?

Well, MediaBoss is a production company that produces unscripted and scripted television shows. We have created hundreds of hours of television and we bring that experience to the client. Our pilots are award-winning and have resulted in broadcast programs.

That’s important because making a pilot is a lot harder than shooting an episode that is part of an established series.

Everything is brand new in a pilot: the music, the graphics, the shooting schedule, the actors and crew and their relationship with the director.

It’s really difficult to make it look like this is Episode 100 and not Episode One, or the first time everyone has worked together.

But that’s the job we love and it’s where our experience pays off.

First, you bring in your script and meet the team. The team includes the producer, director, production manager and staff writer.

After a reading we do a script breakdown and figure out what needs to be done to make it happen. That’s where our budget comes from.

5. When does the shoot happen?

The first shoot happens after the budget is agreed on, a production agreement is signed, and a deposit is delivered.

The production agreement will outline the shooting, editing and delivery schedule.

But first, we get into the pre-production stage. Casting, locations, makeup, props, legal clearances are just a few examples of things that need to be locked up before you can start shooting.

Then there’s the conversation with the MediaBoss production team about your show’s “look”.

How will it be lit, shot and edited. The color palette, acting style, production style, etc.

The whole team needs to be on the same page with all of these elements. In the end, that’s what the director is responsible for on set.

So when that’s lined up it’s time to shoot.

6. What’s the shooting like?

It’s hell on wheels. I think the fantasy of the ‘set life’ and the reality are pretty far apart.

Filmmaking is blue-collar work. Period.

You have a job to do and it has to be done to these specs. And it has to be good.

I’ve meet a lot of well-dressed directors on set and I have to say that on a managed budget production, you better see some sweat and a team of people hustling otherwise your not going to make your shot list for the day!

When you are shooting on a tight schedule with a lot of set-ups, you don’t have time to screw around.

You can’t afford one part of the production to hold any of the other parts up.

So, no you can’t take all day to light that cutaway. It needs to be lit and shot in 15 minutes. And you need to move onto the next thing and the whole crew has to be in synch with that.

Sets can go from chaos to ‘We are shooting this now, action!’ in a couple of minutes. It’s so important to have a good experienced crew, because they all know what’s needed and they do it.

The director also needs to get the best out of the actors and that rapport can’t take all day to develop. He also needs to know when to take an alternate shot or move on even thought something isn’t perfect, because time is the enemy and when you run out of that, there is no more production.

That’s not to say that the mood on set needs to be tense.

In fact, it should be the opposite and everyone should feel like they are on the same team working a very long series of days to an amazing goal.

A good director can make that happen, too. If you hear yelling on set, it’s not a good thing.

The best crews just know what to do instinctively.

7. What’s next?

Next is the post-production phase. This where all those pieces are edited together to create a program.

It’s important to remember that post-production is actually the bigger part of your budget.

There are no ‘simple’ edits. Everything needs to be done to the highest standard, from audio to color correction and effects to graphics.

It’s about a 5:1 ratio. Five days of post for every day of shooting. That’s not a fixed number. There are a lot of companies that can spend a month on a :30 second spot. But that’s not the world of pilot production.

Generally people want to start sharing a pilot as quickly as possible.

8. And then what?

And then it’s done!

Now you take meetings, put it online, share it in festivals and try to get the series made.

We are happy that all of our pilot work has been so well received, regardless of budget. When people see a MediaBoss produced pilot the reaction is always, “That looks great!” We never want to hear that someone lost a gig to a poorly produced pilot. And trust me, we have met more than a few people who blew a budget on a pilot that they couldn’t even share with anybody when it was finished. This extends to the network level.

9. How do you prevent that?

Do your research. Find a good team. Manage your budget and be ready to show it to everyone you can.

Ask questions:
Are they insured?
How many things have they done?
What kind of cameras will they be using?
Audio?
What do they use for post-production?
Do they rent or own?
Do they have a studio?

Ask to see a reel of their work.

We have over 400 television shows and nearing a thousand videos under our belt. We pride ourselves on producing award-winning products for our clients. We are fun to work with and we get the job done, on budget.

We’re really proud of what we do and we are dedicated to making each product better than the last.

Check out MediaBoss’ pilot for the show “Partners”.

Creativity Production Tips & Tricks

7 Stats About Video Marketing to Make You Look Smart

Erin Hayes September 17, 2015 Video Marketing, Strategy Leave a Comment

Great news! According to Aberdeen's 2015 Marketing Report, marketers have significantly shifted their goals from Viral Views to Engagement.

As video marketers, we've gone beyond the one dimensional video success story and moved on to the concept called the 'multi-touch campaign'.

Marketing shouldn't be about "going viral." Many of us know this.

(Recommended reading: 7 Dos & Donts of Video Marketing)

Marketing should be about engaging and exciting people.

As Seth Godin said in a 2014 interview with Inc. Magazine:

"Instead of thinking, "What do the masses want?," [marketers] need to think about what the people who care want. They are two different things. ... by appealing to the people who care, it is way more likely that a company will be talked about."

Every once in a while someone will hit that sweet spot and they'll achieve both. But it's not a predictable event. It's a bet. And listen, gambling is just not something you should do. Especially with your tight marketing budget.

Aberdeen recently released their 2015 Marketing Report aptly titled Getting More Than "Going Viral" ... Sophistication in Video Marketing.

Aberdeen's findings were encouraging.

Here are 7 of the stats about video marketing we found the most impressive:

1) "70% of Best-in-Class marketers actively use video in at least one marketing channel."

MediaBoss opened our doors in 2008.

In the beginning, we'd spend the first couple of conversations with a prospect explaining why they needed video. Video Marketing was barely a term at the time and not many businesses spent time investing in it.

Now marketers widely accept video as an integral piece of their marketing strategy. And their goals have shifted.

2) "65% of video marketers are concerned with fueling multi-touch marketing campaigns. It’s not just about views anymore."

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Download Our:

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In recent years, every time a video went viral we'd get calls from clients saying "we want a video just like Gangnam Style" or "The Old Spice Guy" or "The Dollar Shave Club". You get the idea.

Our clients wanted to increase their market reach and brand awareness, and quickly. But it was an impossible request.

And it was a request we didn't want to fulfill because we didn't want to steal someone else's creative (and you shouldn't either).

There are many reasons why trying to replicate someone else's creative is a bad idea. Here are three.

People are smart and they know when you're being a poser.
Even if the budget is big and technical quality is top notch, it's a recycled concept and won't be as strong.
There were reasons the video went viral beyond the content which you may not be privy to.

But in the last 18 months we haven't had a single request like this. Our clients want thoughtful, targeted content packaged across platforms.

This brings us to the next stat:

3) "70% of best-in-class video marketers use video for social media."

Clients are much more interested in producing multi-touch campaigns now. This could mean one longer video (about 2 minutes); multiple shorter ones (:15 to :30) for everything from Instagram to Snapchat; and related still images or graphics.

And this brings me to the next stat:

4) "40% of marketers who adopt video are interested in keeping up with new marketing channels for interacting with buyers. This includes social platforms and mobile."

We’ve seen our clients' main goal for video shift in the last two years. It's changed from a desire to tell their audience about themselves to a desire to engage with them.

Five years ago we’d need to coax our clients into creating content targeted for certain channels. For example, we would warn against sharing a 5 minute video linked from Youtube to Twitter or Facebook.

Social is better for a quick hit. 5-minute videos are long in any medium. But... they could be a helpful resource in a targeted email campaign.

[Visible Measures reports that 45% of viewers will stop watching after 1 minute of video and 60% drop off by the 2 minute mark.]

Speaking of YouTube, another big change is:

5) "Best-in-Class marketers have 35% lead over All Others in their adoption of a video management / video hosting platform."

Now marketers are able to view real stats on how their viewers interact with the video content they create. They gather actionable information to help them engage with their customers where and how they like to be engaged.

‘Engagement’ is the hottest buzzword out there.

And for good reason.

Check out these final two stats:

6) "Marketers who use video generate 13% more marketing qualified leads (MQLs) per year."

7) "Video users outpace non-users by 63% in increasing marketing’s contribution to revenue year-over year."

The number one thing that set video adopters apart was mindfulness of their buyer’s multi-channel environments and preferences.

Take the time to map out how your buyers will go from viewing a video to interacting with your brand and ultimately making a purchase.

And if you'd like to talk to us about working together, awesome! Reach out here. We'd love to talk to you about your next project.

To download Aberdeen's Getting more than "Going Viral" ... Sophistication in Video Marketing, click the link.

Additional Resources:

Video Marketing Strategy

Monsters of MediaBoss: Our Creative Work Space Comes Alive

Nick Clarke September 15, 2015 Creativity, Design Leave a Comment

We built the ultimate creative work space when we moved into the 8,000 square foot industrial space MediaBoss now calls home. We have lime-pop support poles, a Koi pond, exposed brick and the Shoppers World sign hanging from our 13 foot ceilings.

But we can't stop there.

In the spirit of the upcoming Halloween season, I started to see the every day objects in our studio a little differently.

Here's a look at The Monsters of MediaBoss!

The Terror-able Trash Eater

This guy loves to munch on your paper towels and candy wrappers. Just don't get too close to his mouth!

Fluffy Glowing Ghouls

These three love to hang about our Koi Pond, keeping the fish and Domino the Turtle looking bright!

Goodbye-Bot

After a long day at the studio, this guy always says goodbye with a smile.

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If you need custom graphics or animations, I'd love to chat. Email me here:

Creativity Design

MediaBoss Television Pilot Partners Wins People's Telly Award

Erin Hayes September 09, 2015 Production, Press, Video Leave a Comment

Original Press Release Published Here

FOR IMMEDIATE RELEASE

Framingham, MA September 9, 2015 - The Telly Awards has named MediaBoss Television as a winner in the 36th Annual People's Telly Awards for their dramedy television pilot titled Partners. In addition to recognition from the Silver Telly Council, the judging panel that selects the Telly Awards winners, the Internet community helps decide the People’s Telly Awards winners. With nearly 12,000 entries from all 50 states and numerous countries, winning the People’s Choice is truly an honor.

Partners follows the career of a female detective in an all-male police station. The pilot was written by Matty Blake and directed by MediaBoss Creative Director & Producer, Ian Barrett. Blake and Barrett are producing partners under their partnership company, Let the Boy Watch. The pair have worked together on several other comedic pilots and a variety of other productions.

Partners was co-produced and edited by MediaBoss Television. A scripted, ensemble concept, the pilot was captured in Framingham, MA in a single day and featured actors, Jimmy Dunn (The McCarthys), R.J. Kelly (Political Animals), Betsy Beutler (Legit, Scrubs), Dan Schachner (Animal Planet) and Matty Blake (Mystic River, Boardwalk Empire).

"Filming Partners with MediaBoss and this cast was a like a writer/actor version of going to Disney World: Pure joy and magic,” Blake says. “We had so much fun but we also worked our butts off. A group of professionals getting together and playing our trade on our terms. Laughs yes, but we cared, we toiled, we strove. It wasn’t frivolous, it was rewarding. It’s the best kind of fun. It’s why we do what we do. We love the process!"

"It was a very fast paced set. We had a ton of set-ups to get through because we only had our cast for one day,” Barrett says. "Everything came together like magic, in the end we had more material than we could use! I can't say enough about how amazing the experience was."

The Telly Awards was founded in 1979 and is the premier award honoring outstanding local, regional, and cable TV commercials and programs, the finest video and film productions, and online commercials, video and films. Winners represent the best work of the most respected advertising agencies, production companies, television stations, cable operators, and corporate video departments in the world.

“The Telly Awards has a mission to honor the very best in film and video,” said Linda Day, Executive Director of the Telly Awards. “MediaBoss' accomplishment illustrates their creativity, skill, and dedication to their craft and serves as a testament to great film and video production.”

To see check out more of MediaBoss’ productions check out their portfolio: http://www.mediabosstv.com/creative-video

About MediaBoss Television
MediaBoss Television is a full-service television and web video production company that produces compelling video content for broadcast, corporations and start-ups alike. MediaBoss Television is based out of an 8,000 square foot converted industrial studio in Framingham, MA.

Please contact Erin Hayes, MediaBoss Television, for inquiries: Erin@MediaBossTV.com or call 508-405-0323

-END-

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Buzzwords, De-buzzed: 10 Definitions For Video Production Jargon

Erin Hayes September 01, 2015 Production Leave a Comment

The first time I was on set I was a writer at the Boston Herald but transitioning to the Video Production World. It was one of the first gigs I went on with our now-Creative Director, Ian Barrett. We were filming a firefighter auction in a Boston bar for a television pilot. He asked me if I saw any 'AC' around.

It was winter. The dead of January. I thought he was nuts. Why would he be looking for air conditioning right now? [Spoiler: He wasn't.]

Fast forward through the better part of a decade and now I'm the one speaking production patois. Recently, I found myself talking with a client about filming their video. I told them we'd film with our matching c300s and prime lenses. Then I asked them if they had branding guidelines for the custom GFX we’d add in post.

I got some blank stares and it hit me. I’ve become someone who only speaks in model numbers and abbreviations! I’ve become one of them.

But this exchange got me thinking about the terminology we throw around in the studio on a daily basis. I started to make a list of the otherwise nonsensical phrases we use. It got long, quick.

For fun, I thought I'd share the first 10 terms/phrases that came to mind. Here's the list. And please feel free to add to it in the comments!

1) AC

I thought I’d start off with this one. Turns out, Ian wasn’t looking for air conditioning that night. He was looking for an electrical outlet, or Alternating Current. Why didn’t he just ask if I’d seen an outlet nearby instead of AC? Because he’s been making films since he was 12 and people who make films say ‘AC’.

2) GFX

These are graphics that we add to video during the editing process. These could be animated lower thirds or supplemental visuals to help tell the story.

*Bonus: A Lower Third is graphic with the speaker’s name and title. It's called a lower third because it's usually placed in the lower third of the video frame.

3) CP 47

Asking for CP-47 is usually the first joke we pull on an Intern on set. A CP-47 (or C-47) is a clothes pin. No, I'm not kidding.

There are many stories explaining the origin of this name, all of which are probably apocryphal. But the story we like the best (and feel is the most likely to be true) is the tale of: Evil Accounting versus Poor Production Crew.

Legend has it that in the early days of Hollywood, studio execs balked at spending money on an item as banal as the clothes pin.

They’d deny requests for clothes pins from the lighting department until, one day, the “clothes pin” line item transformed in to the commanding piece of equipment known as a “CP-47”.

And how could they deny their lighting crew such an impressive sounding piece of equipment?

4) B-Roll

B-Roll refers to the footage filmed by secondary cameras.

Back in the days of tape, the primary footage would be captured on the A Tape, or A-Roll. Once that coverage was complete, the tape would get switched and the B Tape would be inserted into the camera.

In the editing process, both tapes would be loaded onto the system and the editor would cut between the two.

Today, when we refer to "capturing B-Roll," we're referring to the atmospheric shots that help support the video’s story and add visual texture to the final product.

This could be the exterior of a building or a close up of a beer getting poured, etc. You get the idea.

5) Bed

Just today our Creative Director asked me to 'work on getting a bed’ for a video we’re editing.

Nope, I’m not hitting up Jordan’s Furniture.

I’ll be listening through our music track library, instead.

The ‘bed’ refers to background music under a narrator or foreground footage in a corporate video or commercial spot.

6) Sticks

When you hear ‘get the sticks’ or ‘move the sticks’ don’t bother looking for fallen tree branches. ‘Sticks’ is production lingo for a tripod.

7) Stinger

I always liked this term. A 'stinger' isn't anything that will prick or hurt you. It's an extension cord.

Here's a fun MEME created by The Black and Blue Blog:

8) Sweetening

'Sweetening' something in post means to enhance something in the post-production process.

This could be audio sweetening if music or voice tracks could use a clean up or a boost.

Sweetening could also refer to color correcting the video footage.

9) Timecode

Timecode is an invaluable communication tool.

It is the clock counter generally found at the bottom of the screen of video footage. It starts with 00:00:00:00 at the beginning of a video and counts upwards for the duration of the video.

The zeros represent Hours:Minutes:Seconds:Frames of video.

It's used as a synchronization tool and for logging and identifying captured material.

We use it when we show first looks of a video to clients. But we also use it internally to streamline communication between a project's Producer and its Editor.

A Timecode edit could look like this:

As in:
Keep sound bite at: 00:00:12:34-00:00:13:56
Edit out: 00:00:15:20-00:00:21:45

10) dB

A producer might say to an editor, "Bring down the dBs in the music bed to minus-10."

They would be talking audio levels.

dB is the abbreviation for decibel. According to Wikipedia, "The decibel is a logarithmic unit that expressed the ratio of two values of a physical quantity, often power or intensity."

Does your head hurt yet? Because mine does.

Here's what you need to know: mixing audio takes work, precision and patience.

When done right, you don't notice how perfect the video's audio is. When done wrong, you're jumping up to turn down (or up) the volume every time a scene transitions to the next in the program you're watching. The worst.

O.K. You have my short list of production terms.

What would you add? Have any more obscure ones, like CP-47? Share them in the comments!

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Find out more about our production process:

Production

Pilot production is tough.

Do It Yourself

Have YouTube Do It

Hire Someone To Do It

1. Just Press Record

2. Don't worry, we can fix it in Post.

3. It Costs More Than It’s Worth

4. It was shot today so we’ll get a finished product tomorrow.

Here is how I do what I do:

Take a deep breath and dive in.

Focus on the design.

Watch it again.

Here are some tips that help me on my day to day job:

Take some time from the edit.

Avoid one camera angle.

Never stop learning.

Become a storyteller.

Respect the job.

Pilot production is tough.

1) "70% of Best-in-Class marketers actively use video in at least one marketing channel."

2) "65% of video marketers are concerned with fueling multi-touch marketing campaigns. It’s not just about views anymore."

3) "70% of best-in-class video marketers use video for social media."

4) "40% of marketers who adopt video are interested in keeping up with new marketing channels for interacting with buyers. This includes social platforms and mobile."

5) "Best-in-Class marketers have 35% lead over All Others in their adoption of a video management / video hosting platform."

6) "Marketers who use video generate 13% more marketing qualified leads (MQLs) per year."

7) "Video users outpace non-users by 63% in increasing marketing’s contribution to revenue year-over year."

The Terror-able Trash Eater

Fluffy Glowing Ghouls

Goodbye-Bot

1) AC

2) GFX

3) CP 47

4) B-Roll

5) Bed

6) Sticks

7) Stinger

8) Sweetening

9) Timecode

10) dB

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