In this final segment of the Making Commercials series, we discuss showing the finished spot to the client, making revisions, and creating deliverable formats for television and the web. Making a commercial is a long process, and these are the final steps before you see your finished product on the air.
When you have a too-loose drag on your tripod head, or are working with a rickety, old or cheap tripod, a little support can give you a smoother pan. Enter the Rubber Band trick - easy and effective. Sometimes, it's the simple things that make us think, "Oh, nice!"
So, your shoot is done, and you've got some great footage. Now the trick is assembling your shots into a coherent message that will bring your client more customers. In this segment we talk about logging your footage, spot lengths and formats, adding voice-overs, choosing music, and adding sound effects. Creating the right blend of footage and graphics, along with a great sound mix will take all the hard work you've done and mold it into a great commercial.
In this segment we talk about the logistics of shooting inside a business, working with the client on set, using the shot list, and how to improvise.
Highlight footage from the Sony VG900 Video Camera
Premiere Pro CS6 is packed with some great new features, we talk about two of our favorites; dynamic timeline editing and adjustment layers. Both these features will make your post-production workflow go faster.
Spotlight on the Roland R-26
Now that you've assembled all the information into a clear message and have the script together, it's time to take it apart. In this segment, we discuss breaking down your script, creating a shot list and story board, assembling the resources for the shoot.
Go ahead... ask. “Why do all the work of putting it together, just to take it apart?”
The answer is simple. Pre-production.
Video producers driven to DSLR use because of their interchangeable lenses and amazing images, but those who miss the traditional camcorder look, feel and functionality will be delighted with the NEX-VG900. We take a hands-on look at Sony's newest professional level Handicam.
You've met with the client, toured the business, and have pages of notes. Now it's time to take all that information and conceptualize a great commercial. In this segment we cover creating the concept, choosing a style of advertising, and pitching the idea to the client. Understanding these concepts will help you form a solid idea to get the go ahead from your client
One of the most exciting features of the Sony FS700 is the ability to capture super slow motion. We shot some of the fastest subjects we had available, including a hummingbird beating its wings, at up to 960 frames per second.
Creating a commercial for a business is a series of steps that, if well planned and executed, create an effective selling tool for your client. The client is the person who has the final say and writes the checks, so the first meeting is crucial. Using these methods can give you a head start on the pathway to making a great commercial for your client.
Spotlight on the Edelkrone Pocket Rig
Star Trek, released in 2009, is a modern take on a classic franchise. This film mixed classic film techniques with high end visual effects to bring a sense of realism to the screen.
Saving Private Ryan, released in 1998, is known for it's realistic portrayal of war. Janusz Kaminski used various techniques to create gritty, intense cinematography that has some of the most memorable battle scenes ever shot on film, earning him an Academy Award for his work.
Spotlight on the LG Lucid VS-840 4G Smartphone and Video Producer
The Godfather. Released in 1972, redefined the gangster genre and won the academy award for best picture. Cinematographer Gordon Willis masterfully crafted shadows and created a unique look and feel with great lighting techniques throughout the film to create some truly intense scenes.
intensiKey allows you to bring your greenscreen footage into pre-made 3D virtual sets. It bills itself as powerful, yet easy to use. With it's robust keyer, well designed virtual sets, simple interface and clear purpose, it really does deliver on that promise.
The Hewlett-Packard Z1 all in one workstation houses components that can be easily removed. What isn't shown is how bright and fine images and video look on screen, and the ability to add a second monitor is simply powerful.
This segment examines a scene from a film that took low-light shooting to new levels. Director Stanley Kubrick's Barry Lyndon, released in 1975, still holds the title for the lowest f-stop lens used in a film. With the beautifully crafted shots in the film, it's no surprise that Directro of Photography John Alcott won the academy award for best cinematography. Deconstructing Cinematography looks at an incredibly lit scene, using only three candles.