All Pro Media News Blog

Dressing for success in a video interview

When asked to appear on camera knowing what to wear can help you to look your best.  Even the latest high definition video cameras “see” the world different from our natural eyes.  Here are a few simple rules.

What not to wear on TV

• Avoid white shirts or dresses.  White appears brighter on camera than complexion tones, and visually overpowers the face. 
• Avoid clothing with fine stripes or patterns.  Sometimes they can appear to vibrate on camera, in what is called a moiré pattern.
• Large or reflective jewelry can be distracting in addition to beeping watches, cell phones or pagers.

What to wear on TV

• For men an off white shirt will actually appear white on camera without overpowering the rest of the image.   Pastel shirts, such as light blue work well, in addition to deeper colors.
• Depending on the tone and appearance that you want to set, a suit or sports coat with tie or open collar generally works well.  Alternately, many men choose something more casual like a golf shirt, or perhaps your company’s logo wear.
• For women deep solid colors can have a pleasing result.  Blue works especially well on camera as it is most flattering to skin tones.
• Unless you’re in a major production with a make-up artist on set, it is best to bring a comb, makeup and a mirror.

When possible bring several sets of clothing to provide the director with a choice.  Also not to be overlooked; a good night’s sleep can actually help you look your best, and don’t forget to wear your best smile.

While preparing for an inverview, I have seen some people write out their statement and try to commit it to memory.  Most of the time however, this effort backfires causing the person on camera to appear nervous and unnatural as they struggle to remember what they wanted to say.  A better approach is to relax and simply have a conversation with the person interviewing.  That will make your answers more sincere and believable to viewers of the video production.  Alternately, if the goal is to make a statement for your company and want a carefully scripted message, the use of a teleprompter will allow you to confidently deliver your message right to the camera.  Fortunately, the ability to record more than one “take” allows the opportunity try it again in case you mess up.

So the key to success for recording an interview for TV is to watch what you wear, relax, and don’t forget to smile.

We just helped the folks at Sport Aids Equipment, Inc launch their flagship product, the Club Pro, a golf swing training aid. We rolled out a multi page website for their company, sportaidsequipment.com, with a landing page optimized for the Club Pro at clubpro.tv.

The TV commercial, which started airing nationally yesterday, is for the Club Pro System, which is the Club Pro, a pocket guid, and an Instructional DVD, which we also produced in-house. The DVD features former PGA Tour Winner Ron Cerrudo instructing everyone on how to get proper foot alignment, body position, and swing paths, by using the Club Pro. Mr. Cerrudo, who has taught over 30,000 golf lessons in his career, was a blast to work with at the Daniel Island Club’s beautiful Charleston, SC golf course.

Not limited to golf, Sport Aids plans to continue developing training aids for other sports in the future.

Everyone knows video is one of the best ways to communicate your message. When creating a video the goal is to engage your audience so they are receptive to your ideas, whether it is a TV commercial, internal corporate communication, instructional video, or seminar.

Two techniques you can use to create engagement and add drama to your video when shooting are dynamic camera angles and camera movement. This can be done in a limited fashion with hand held video, but if you want a smooth professional look, it helps immensely to have a piece of equipment called a camera jib.

Our 20 foot Camera Jib Crane in Action

A jib is like a small crane.  It provides smooth motion thanks to a long extended arm on a ball joint with a counter balance system. The one we have at All Pro Media is extendible from 6 feet up to twenty and has a remote control system, which allows for those extreme shots where an operator can’t physically be in contact with the camera.

The arm can swing high and low so you can get shots anywhere from a baby crawling on the floor, all the way to a shot looking into a second story window. The jib performs supremely for automotive commercial spots, real estate promotions, music videos and other scenarios where a variety of coverage is required. We have even used one to get product shots of ceiling fans – something that would have been really difficult to do using a regular tripod, which only extends about 6’.

Sometimes it’s OK to settle for a static shot on a tripod, but when your video requires a little added production value, there’s nothing like a shot of your speaker at a podium that then sweeps out over the audience, or a birds-eye view that pans across your factory floor.

Changing the angle of view from a straight shot, to a low  or high angle, can add weight to that particular scene. It automatically creates interest by giving the audience a new perspective on what could be a normal situation. If you shoot someone from a low angle they can become more powerful as the viewer “looks up” to them. Following someone’s feet as they move through a situation could add mystery. An extreme high angle shot is a great way to set the scene where the action will take place, or you could use it to give a sense of the “bigger picture”.

A jib can also be used to create a “tracking” shot to follow a subject that is on the move. This is often achieved by a dolly or steady cam. It can be accomplished for shorter distances with a jib, and there’s no need to avoid getting the dolly track in a shot, or clearing a walking path for the cam operator.

A camera jib isn’t limited to huge sweeping motions, either. It can be moved more subtly. Add drama with a little movement to what would otherwise be a basic product shot. Sometimes a slow overhead sweep of your product or talent is just what the doctor ordered. It can also be used to transition from one subject to another in a dynamic way; moving from one point of focus to another in one fluid motion. This all helps to add energy and create visual interest.

Here is is a quick demo we put together of footage we captured at Tryon Palace, in New Bern:

You can watch another video and find out more information about our Camera Jib here.

If you have any questions about video production for your company, or if you would like information on jib crane rentals, give us a call us at 336-229-7700 or send us an email.  We’d love to talk.

All Pro Media took delivery this month of the new JVC HM700 professional HD video camera. The camera’s capability to shoot 1080i, 1080P and 720P plus the upgraded optics of the Canon HD lens is the first step in All Pro’s upgrade plans for 2010. JVC refers to the camera as the world’s fastest shoot-to-edit work flow, an important feature in the budget conscious era that we are in.

The first project HD video production with the new camera was of product footage shot in Greensboro NC for QVC, the national television network. Everything about the experience was excellent! The camera has a simply phenomenal picture, the flexibility to adjust the look to meet the requirements of most any job, even the capability to shoot in XDCAM EX format, an industry standard.

Not every job has the same requirements. The HM700 is the second generation HD video camera owned by All Pro. We still have three of the HD100 cameras which shoot in both standard definition and HD. Those earlier cameras have served us well, and will continue to be an important part of our extensive base of equipment. Part of the advantage of purchasing a new camera in the JVC family line is that the camera works the way we expect it to, and the accessories from the earlier generation fit new equipment. Even without that advantage we would have made the same choice though. The whole staff was really impressed by the new HM700 and what it is capable of. It is going to be a busy winter and spring this year!

Three video cameras directed live was the order of the evening as All Pro Media assisted another video production company with equipment and personnel at the Barn Dinner Theatre in Greensboro, NC October 8th. The occasion was the theatrical performance of “The Service At Rocky Bluff”, a musical play about friendship and how we influence each other for good.

The equipment list for the widescreen multi camera production included three JVC digital video cameras connected through component cables to the video switcher. Each camera had remote zoom and focus for better control while shooting and the camera operators were in communication with the director using a Clear-Com headset system. The director had separate monitors for each camera, plus a 15” control monitor for program and a smaller 9” portable monitor for record confidence. Further a Tektronix portable waveform monitor and vectorscope provided additional assurance that camera levels were set correctly. In addition to recording the switched feed, each camera recorded to digital videotape allowing for total control in the editing.

Tolly Carr, a local producer with Viewfinders Media of Winston-Salem, NC remarked on the experience saying, “Kevin was great and everything was smooth… everything looked really good. If we need another setup like that we’ll call you for sure.”

All Pro Media, Inc. has been doing multi camera production since 1990 and offers a range of video production and video equipment rental services. For more information contact Alan Kirby at 336-229-7700.

When national television network shows require local production, they often call on All Pro Media.  The most recent example was an interview segment for TruTV’s Most Daring on an episode entitled “Ultralight Falls and Crashes”.  Tristan Chaika, a videographer at All Pro Media used one of the company’s JVC GY-HD100 cameras for the location production.  The camera is capable of shooting standard definition or 720P high definition video.  The shoot included on video interviews and B-roll featuring edgy lighting required by the show producers.  High quality audio capture at the hands of editor Kevin Ashmont was aided by the Sound Devices 302 field mixer with a RØDE shotgun and Sony lapel microphones.

When your project is ready for television, the last step is to add FCC required captioning. Since January 1, 2006, the FCC has required that most new English language programming on television be captioned, with some self-implementing exemptions. We can advise you as to wether it is necessary to caption your project.

Beginning January 1st, 2008 the FCC will step up its requirements for programs produced prior to the introduction of the closed captioning rule in 1998. They will increase the requirements for TV stations making it mandatory for 75% of pre-rule programming to be captioned, up from 30% in 2006 and 2007.

All Pro Media offers fast and affordable closed captioning services to meet your programming and accessibility needs.