I received an email recently from one of our blog readers in regards to our article on the Art of Storytelling. He had a question regarding the role music plays in telling a story, which I feel is a very important topic to discuss when it comes to video production. I have always supported the use of music throughout a short film, feature film, TV commercial, corporate video, etc. The right music, used in just the right way, can really enhance the mood and emotion of a scene. In other words, music should compliment the story. However, I am against relying solely on the music to encourage an emotional response. If the story is structured well through the writing, cinematography, direction, and the editing, then the audience will feel the appropriate emotion. Leaning on the music to elicit an emotional response that otherwise can’t be earned by the story is manipulative. Concentrate first and foremost on telling a good story by the way you edit the video. Then find the right piece of music to fit the mood you have already established. The video will be stronger as a result.

In April 2009, we started production on a short film, tentatively titled “If Only.” The production itself was set back several times due to bad weather and some issues with locations, but we finally wrapped in early July 2009. If you would like to see some production stills, click here. Since that time we have been trying to finish post-production and it has been a long process. One reason for the delay has been our conflicting schedules. It has been difficult for the editor and me to sit down and hammer out the cut. Another reason has been our approach to the story. When I first wrote the script, I had a certain structure in mind for the film. However, as the editor and producer looked through all the footage, they had a different take on how we should construct the story. We had several discussions on how we would approach the edit and I am very pleased with the approach we took. We have now completed the edit and currently the film is in the hands of our music composer who will score the film. Once we have the music in place we will due a final audio mix and some color correction before we submit it to this year’s Sidewalk Moving Picture Festival. The film has been officially renamed, “A Changed Man,” and centers around an emotionally distraught woman who struggles to put her past behind her and regain control of her life.

Casting for a TV commercial or corporate video is an important step in pre-production. When you hire the right actor for a particular role, everything on screen seems to click. However, the auditioning process can be challenging, especially when you see a lot of talented actors. Sometimes it’s difficult to narrow the list of choices down to that one actor who fits the bill. Here’s how you can make more confident casting decisions.

First, HOLD AUDITIONS. Don’t simply cast someone based on a headshot and resume. Get them into your office. Meet with them. Talk with them. Get them on camera delivering lines from the script. An actor’s headshot may look perfect, but the performance may be lacking.

Second, HIRE PROFESSIONALS. I know that your production budget may prevent you from hiring professional talent, but if you can afford it, do it. Professional actors are accustomed to being on a set. They are comfortable on camera. They take direction well. They can deliver the same lines in a variety of ways, which will give you options when you get into post-production. Non-professional actors may require a lot of extra direction, which can cause the production to fall behind schedule. If you have to cast amateurs, you definitely need to adhere to tip #1 on this list. It will also help to hold a few rehearsals with your amateur cast before the actual shoot.

During the actual audition, you will want to do the following:

1. FILM EVERYONE’S AUDITION. You can use the footage as a reference after the audition is over. When you are going back through everyone’s headshot and resume days later, it can be easy to forget how they performed. Also, seeing an actor perform live is different from seeing them on camera. Having video footage of an actor’s audition is an excellent way for you (or you and your client) to evaluate his/her on-camera presence.
2. ASK THEM TO PERFORM THE LINES IN DIFFERENT WAYS. If an actor’s initial interpretation comes across too weepy, ask them to do it with a more angry feel. If it’s too “bubbly,” or “perky,” ask them to perform it with a more reserved and subtle joy. This will give you a sense of an actor’s range, and it will also give you an idea of how they respond to direction.
3. DIRECT THEM TO STAND AND MOVE AS THEY DELIVER THE LINES. I realize that this tip really depends on the nature of your project. For example, if your commercial takes place inside a car, you won’t need the actor to stand. However, if the script requires standing and/or moving, get the actor up on his/her feet and ask them to move around as the script directs. Someone may look and sound great while seated, but they may move awkwardly when standing or walking.

And when evaluating the auditions, examine the following:

1. Did the actor provide you with enough vocal variety when reading the lines?
2. Did they respond to your direction well? Did they deliver what you asked them to do? Or were they slow to comprehend and deliver?
3. Do their facial expressions and body language convey the emotion you are looking for? So much of an actor’s on-camera performance is non-verbal. Did the actor communicate the feelings of the character without saying a word? Or, did his/her face remain relatively unemotional?
4. How did the actors look when up and moving around? How did they carry themselves? Was it natural and believable or forced and stiff?
5. How was the actor’s overall appearance? Sometimes someone may have a great presence and an excellent delivery, but he/she may just not have the right look for the part. Who just “looks right,” in your opinion? When following up with actors with whom I have auditioned, sometimes I have to tell them that they are extremely talented and did a great job during the audition, but ultimately, just didn’t look right for the part.

Taking time to weigh your casting options will definitely have a positive impact on the final video.

Related articles

• Auditioning (backgroundacting.wordpress.com)
• Tips for Casting Your Film (brighthub.com)

Sometimes you can’t appreciate how far you’ve come until you take a look at the road behind you. With the rapid advancements in film and video technology, it’s sometimes hard to believe that the motion picture industry is barely over 100 years old. I really enjoy studying history, including film history. One of the items in my collection is Edison – The Invention of the Movies (1891-1918), a DVD set of early short films. To me, it’s fascinating to watch these motion pictures to get a glimpse of people and places long since gone. Thanks to film, they are preserved forever, including the people in this 1922 Kodachrome film test. Kodachrome was Kodak’s long-standing brand of color reversal film, and (as the video’s opening title says) this footage is some of the earliest color film you will see.

A few months ago I posted a couple of articles outlining ways in which you can help make the post-production process a little more efficient.  The foundation for a smooth post-production is laid during the actual shoot. If you are disciplined and organized in production, then the edit will get off to a good start. There are two major things you need to do throughout the shoot – slate each shot and maintain a shooting log.

Slating each shot means placing a clapboard, card, a piece of paper, etc. in front of the camera before each scene. Written on the slate is valuable information pertaining to the individual shot, like scene number, take number, production title, and date. Having this information appear before every take will help your editor keep track of all the shots throughout post. Even if you are working both as director and editor, a slate is an invaluable tool.

In addition to slating each shot, it’s important to keep a running log of everything you shoot. A log contains a description of each take and a record of what happened during that particular take. It will help you remember, for example, if the pickup truck blocked your main actor on the fourth take or the sixth take. It will help you to remember if the conveyor belt moved at just the right speed on the third or the fifth take. And it will help you to remember when your interview subject used that great sound byte.

This all sounds great, in theory. The reality is, sometimes in the hectic pace of a documentary corporate shoot, or low-budget indie project, it can be easy to get off track. However, the iPhone has apps available to help make the process easier and more convenient. iSlate, from iBuiltThis, is a digital clapper that allows users to conveniently slate and log their shots. It’s perfect for a run-and-gun project with a bare bones crew, because you will always have your phone with you. And since it’s only $3, iSlate is a great option when compared to actual chalk and dry-earse slates on the market.