Corporate Videos for Company Promotion

Making corporate videos is one of the best promotion methods that is appropriate for almost all types of businesses. It can be used for increasing awareness among the public about the details of the company and newly invented products and services that can be bought by customers. This is one of the relatively recently introduced methods for gaining the attention of both new and old customers.

Corporate videos are generally used for various purposes depending on the coverage that will be received by the particular company. A corporate video that is made by highly professional people will increase the growth of the company. It is also called a commercial video. Due to its ability to broadcast the features of the products and services of the company in a highly attractive and lively way, it greatly affects the power and growth of the company. Corporate videos are also helpful for providing the details about the branding of the company to the public. They are highly informative and provide education to the viewers about the nature of the company. They are helpful for increasing the numbers of customers of a company.

A corporate video must be made properly and in an accurate way focusing mainly on the intended use to attract large numbers of customers. It can include DVD, video with a very high-definition, streaming videos etc., It is helpful in gaining the focus and customers of a recent market trend. The first step in making a corporate video is to utilize a high quality camcorder to produce videos which will look professional when posted on online websites such as YouTube. Then, the video must be transferred to a PC using the camcorder software. Video editing software can be used for including titles to the videos along with music, sounds and other special effects.

Encoding the corporate video is a most important process. During this process, a raw video file will be transformed to a pattern that alters the file to be smaller in file size, but still ensure a good appearance after uploading to an online website. After the process of encoding, the video can be posted on the appropriate website and all viewers will be able to gain access to it without any hindrances.

Video making is a powerful method for increasing the traffic to a particular website, but needs to be done correctly or could result in a loss of customers. Consider using the services of a professional.

If a video is made professionally and creatively it can become viral, this is when it is placed on the internet and shared by users via social media avenues. This can make brands and companies very visual and increase sales and awareness.

Source by Claire Jarrett

Making Video Look Like Film – A Digital Filmmaker’s Guide

You have your script. You have your camera and computer editing software. You have actors, a crew, and some locations. Now you begin to shoot your “digital” film. Although the “filmmaking process” described in here uses the “film” word, what we’re really talking about is the overall project, not the medium on which it is shot. In recent years many traditional filmmakers have made the jump from film to digital video as have many television series. The reasons are clear: even using the highest quality digital video formats available, the cost savings over shooting traditional 35mm film are not to be ignored, as well as the fact that today many traditional film shoots use a “digital intermediate” (a fancy way of saying the film footage is scanned frame by frame into a series of digital still images) to provide color correction, add special effects (if needed), and in the case of regular television series, are output directly to tape or disc and never see film again.

In the independent film world, these recent changes have had an enormous impact on the affordability of production. “Prosumer” digital video cameras ranging from $1000 up to $10,000 provide relatively clean, clear images. Also extremely affordable are computer hardware and editing software which provide single-source solutions, not only for editing of images, but also color correction, special effects, sound mixing, and DVD authoring. Just a few short years ago, a feature-length independent film shot in 16mm color film would have enormous costs simply in the rental/purchase of a proper camera; the cost of a film (400 foot reels at more than $90 each), processing, negative cutting and color correction costs, and all this even IF one chose to output to videotape and edit the final footage there (a la Robert Rodriguez’s “El Mariachi”). Now a single mini-DV tape costing around $4 can record up to an hour of footage. Portable laptops and/or proprietary hard drive systems can record directly to disk format ready for editing without even the need for capturing from tape. However, one fact still remains – you are still shooting “video” and, unfortunately, video does not look like “film”. There are several reasons why:


Film is shot at 24 frames per second (fps); video is shot at 30fps (although because standard video is interlaced, i.e. each frame is made up of two fields which are scanned at odd/even intervals, it actually appears more like 60 fps). The extra frames of video provide more detail in an object or person’s motion, making the image look more realistic in nature However, as a society we’ve become so used to the 24fps look of film that video does not create the “suspension of disbelief” when we watch it.


Standard definition DV video uses a frame size of 720×480 pixels. Doing the math, that’s a paltry 345,600 pixels to reproduce each frame. If printed on a sheet of photo paper at 300 dots per inch (DPI – the minimum amount needed for a clear printed image), it would barely be 2 ½ inches wide. By comparison, today’s digital still cameras now operate in the 5 megapixel range and up, providing 14 times more image data than standard video. This approaches the clarity of 35mm film, which, although not having a specific pixel count, can be magnified and blown up to larger proportions (i.e. 8×10 photo or projected onto a 30 foot screen). However, newer High Definition (HD) video formats provide much sharper images (the two most popular formats are 720×1280 pixels and 1080×1920 pixels).


Although film technically has more resolution than standard video, the overall look of the image is “softer”. This is due to colors on the film emulsion blending gradually from one to another, whereas each pixel in standard video has specific boundaries between itself and its neighbors. New digital cameras have special circuitry to help create smoother images, especially in areas of color than approach skin tones.


Until recently, video was shot with a picture height that was ¾ of it’s width (often referred to as 4:3, or in film terms, 1.33:1) For years, film has been projected with aspect ratios ranging from 1.85:1 to 2.35:1. New high definition television sets and portable DVD players use a compromise aspect ratio of 16:9 (or 1.78:1, close to the 1.85:1 number mentioned above). This does not have as much of an effect as the items mentioned above, however it goes a long way to selling the “look” of video as film.


This is a range of distances from the camera lens in which an object stays in focus. It is based on several factors, the most important of which are the actual frame (in film) or CCD (in video) size. The larger the frame surface, the less depth of field at a particular aperature setting. Traditional film cameras receive light through a lens onto a square that is 35mm (1.4″) diagonal. Many of today’s smaller DV cameras use 1/3″ or even ¼” diagonal CCDs. This is why a traditional 35mm film image will have a subject in focus and the immediate background out of focus. This effect also helps separate the foreground character or object and allows the filmmaker to force the audience to concentrate on a particular part of a scene. Video cameras tend to allow more objects (foreground and background) be in focus at the same time.


Another way to generate a “cinematic” look to a moving image is by moving the camera as opposed to using the zoom lens. Except for a brief period during the 1970s, zooming in the film community has been rarely used. Instead, the process of physically moving the camera helps create a more three-dimensional feel and is more closely related to what we observe through our eyes every day (remember our eyes cannot “zoom” the way a camera lens can). Zooms are also more typically used in television programs (news, sports, talk shows, etc.).

So, what can we do to overcome the “video” look in favor of the more pleasing “film” look? First of all, the selection of a proper camera is the key. Many newer cameras (starting with the groundbreaking Panasonic DVX-100 series) are capable of shooting at 24fps. The resulting set of images is then laid down onto DV videotape using a 3:2 pulldown method (similar to how traditional film at 24fps is converted to 60 interlaced fields). This allows compatible playback on any standard DV camera or deck. The byproduct of the 24p mode is also that the image is scanned progressively, which yields a slightly sharper image than the typical interlaced video frame.

Other cameras just out on the market (such as the JVC HD100 and the Sony FX-1) shoot in HDV mode (an abbreviation for High Definition DV), which again utilizes a standard DV videotape to record more pixels per each frame. The drawback is that this system uses MPEG-2 compression, a method of compressing data which is used in standard DVD discs and players. Because of the large amount of data that has to be “squeezed” onto the tape, occasional artifacts can appear, especially in scenes with a lot of motion.

Finally, true HD cameras such as the Panasonic HVX-200 provide “true” HD recording capability, however here the cost of the recording media begins to rise. Although the HVX-200 has a mini-DV tape drive built-in, in order to realize the higher quality images, one must use Panasonic’s proprietary “P2” storage system, which records the data onto a series of removable memory cards. At this point, these cards are still extremely expensive, however as technology improves and memory price falls, this may prove more affordable in the future.

When shooting on video, several key factors can help avoid the “video” look. The first one is to avoid overexposing even part of the frame. Overexposed film reacts much differently than overexposed video, which tends to sharply lose all color and generates a noticeable “blooming” along the edges of the overexposed part of the scene. By closing the iris of the camera ½ to 1 full f-stop, you can bring potentially overexposed highlights down into a usable range. With the color correction tools in most major editing programs, the image can be brightened a bit later if necessary. Also, some of the newer DV cameras have selectable gamma settings which expose the mid-tones of the scene in different ways to better match the way film reacts to light. Also, the use of soft, diffused light is extremely important – this helps keep shadows to a minimum and softens the image that is captured by the camera’s CCDs.

The aspect ratio of your video frame is relatively easy to change. First, you can shoot full-frame, then add black bars across the top and bottom while you edit. Although this gives the video a “widescreen look”, you have essentially thrown out 25% of your image data. Many DV cameras have 16:9 widescreen modes, although they vary in how this is accomplished. Some simply add the black bars across the top and bottom and record the frame that way; others will turn off the top and bottom portions of their CCDs and “squeeze” the rest of the information into a full frame (referred to as anamorphic), which yields slightly better results. The resulting “squeezed” frame is then restored to normal aspect when viewed on a 16:9 monitor or projector, which then “stretches” the frame out to its normal width. With standard definition DV cameras, the highest quality method for obtaining a 16:9 image is to use an anamorphic lens, which optically squeezes the image to fit into a 4:3 frame, allowing you to use all of the available pixels on the camera’s CCD. Unfortunately, anamorphic lenses can cost upwards of $800 or more. With Some of the new breed of HDV and true HD cameras, the CCDs within them actually have 16:9 aspect ratios and the pixels to match.

Unfortunately it is extremely difficult to match the narrow depth of field look of film. Even large professional cameras with ¾” CCDs still have trouble matching that of 35mm film. There are other factors which affect depth of field, however, one of which is the aperature setting on the camera lens (also known as the iris). The more open the iris, the more narrow the depth of field. So even if you’re using a lot of light on a particular scene, you can force your camera to shoot with a narrower depth of field by using built-in neutral density filters, which most prosumer cameras have, or by putting neutral density filter in front of the lens to darken the image coming into the lens. Another factor is the focal length, or how far the camera is zoomed in to a subject. The more telephoto a zoom setting is, the more critical the depth of field. However, this must be used carefully; by setting up the camera too far away from the subject and zooming too far in, it can cause the background, even if slightly out of focus, to seem closer to the subject than it is in reality.

Camera movement is an issue that can be solved either with a larger budget, a bit of ingenuity, or a little of both. Simple hand-held movements are the cheapest, but also require some skill, even if the resulting shot is supposed to look “a bit shaky”. Simulating the use of dollies can be done in the age-old tradition of using an old wheelchair, placing the camera and/or operator on it, and rolling it along a relatively smooth surface. For high angle shots, nothing beats a crane; even lifting the camera up 10-12 feet above your scene, especially with the lens set as wide as possible, will achieve impressive results. Again, with a bit of skill you could construct a simple crane system using some 2x4s, a trip to the hardware store and some old exercise weights. However, some new affordable (around $300) crane systems have become available in recent years. There are varying styles of camera stabilization systems (i.e. “steadicam”), some as simple as a counterweighted platform requiring the operator to hold all the weight with his/her arm; others come equipped with vests and spring systems which transfer the weight to the body and allow for even smoother movement. Again, using systems like this take practice, but can achieve impressive results when implemented correctly.

By taking all of these items into account when shooting, one can create a believable film look which is enough to “fool” most audiences. Of course, ultimately the overall production value of the shoot (lighting, sound, acting, set design, makeup, etc.) will also determine how “professional” the finished film is, regardless of whether it looks like film or video.

Source by Marc Vadeboncoeur

The Advantages of AVI to MP4 File Converters for Mac

You are probably aware that some devices do not support or recognize AVI files, like Mac computers, iPhones, iPods and iPads to name a few. The MP4 format has recently outdone the AVI format because of its superior streaming quality in whatever device you play it on, whether on mobile or the internet. That is basically the reason why the MP4 video format is much preferred by consumers.

Your Mac’s standard video player, QuickTime, does not support AVI file formats. That is why you must convert AVI to MP4 on Mac to be able to play it. There are a lot of video converters available, some are even free. If you have the budget, you might as well opt for the paid software program because somehow it tends to work better in converting your files. Most converters are compatible with Mac OS Mac OS X 10.6 Snow Leopard, 10.8 Mountain Lion and 0.7 Lion; they also support numerous other input and output file formats. The quality of the video will never be lost; in fact, a good video converter will even dramatically improve the quality of your video using those amazing tools that are included with the software.

If you convert AVI to MP4 on Mac, you get the following benefits:

  • The MP4 format is lighter and therefore is easier on your file storage space. Its file size is relatively smaller than AVI. A five hundred megabyte video clip in AVI format, when converted into MP4 format, would decrease the file size into approximately 30 megabytes. That’s a lot of disc space saved! Now you’ve got more room for other files.
  • The MP4 format offers good audio-video quality. The conversion process will not ruin the quality of the video or the clarity of the audio. In fact, these may even be enhanced!
  • The MP4 file format is generally recognized by many devices. This format is understood by scores of modern devices without any trouble, unlike the AVI file format. The MP4 file format is always ready for access whenever you want, in whatever device.
  • Converting your file has the added benefit of unleashing your creativity. With those great editing tools that go with the file converter, you can manipulate the video to your liking.

The length of conversion process depends mainly on two factors: the file size and your computer’s performance. A 4-minute music video, for example, will take only just a few seconds to convert; on the other hand, a larger file size will take longer to convert. The progress bar will help you see the status of the conversion process. If your computer is in tip-top condition, then it will allow for an even faster conversion.

If you want to convert AVI to MP4 on Mac, all you need is a good converter. Download it, install it, launch the program, drop the file you want to convert into the converter, click the convert button and that’s it. It’s as simple that. You might want to try those cool editing tools, too. Trim the video, crop the frame size, add special effects, tweak it any way you want… and don’t forget to share your masterpiece to others!

Source by Debra L Miller

Setting Up Your Nikon D3400 DSLR Camera to Shoot Videos


The Nikon D3400 is an entry-level DSLR camera designed by Nikon for people who are moving up from bridge cameras or from compact cameras and whilst it takes excellent stills it also shoots superb video. One of the selling points of this camera is that it shoots Full HD video which is 1080 at 60 frames per second, which is really very impressive, and gives you a very smooth and very high quality video reproduction. One of the downsides however is that it doesn’t have an external microphone socket and that is very much in common with most cameras in this category – though ironically its predecessor, the Nikon D3300, does have an external microphone socket and I would say that if you’re going to shoot a lot of video, which will require a lot of sound when you’re actually recording the video – perhaps you are doing interviews or you are recording bands – then you might want to look at the D3300 rather than this camera.

On the other hand one of the things that I really do like about this camera is that it has a lot of effects and modes, so that you can be quite creative with the way that you shoot stills and those effects are translated through to videos too which is really quite fun. So you can have a lot of fun with photo illustration which shoots a sort of comic effect but in video. You can have fun with the miniature effect which shoots a sort of time lapse but within the miniature effect option, and you can also have some great fun which I found with toy camera effect which gives a really OLDE WORLDE type of shot through video with vignette and quite unsaturated color.

Before you shoot video you need to change some of the settings in the menus. So first of all switch the camera on and press the menu button and you are looking for the shooting menu. The video options are right at the bottom of the page so you could use the multi selector to go all the way down or you can press it one up and, because it’s on a rotating dial, it means that you go straight to movie settings. Then you can choose your FRAME RATE and FRAME SIZE. There are two different frame rates one is NTSC which is mainly for America and that will give you 60 frames per second or 30 frames per second, and the other is PAL which is mainly for Europe which will give you 50 frames per second and 25 frames per second. It is quite important that you choose the correct one for your country so it’s worth checking if you are not sure. I would recommend 1080 at the highest frame rate, obviously. It will go down to 720 which is perfectly acceptable for social media for YouTube etc. If you move one down on the menu you can have a look at movie quality which, of course, should be high rather than normal and then go down one more option to microphone. The D3400 doesn’t have an external microphone socket, but it does have an internal microphone which can be reasonably effective over short distances.

You have three options for microphone – the first one is AUTO, which is okay and worked reasonably well for ambient sound, the second one is MANUAL, which I would recommend because it gives you more control over the sound that you’re recording. If you are in manual you should be aiming for your sound to peak at 12, so if you can test out the recording before hand – if somebody’s talking for example – then what you’re really looking for is when that person is at their loudest, to peak on 12 and you can use the multi selector to move the sensitivity up or down to ensure that that happens. The final one is to switch microphone OFF and I don’t recommend that at all even if you don’t intend using the sound used having the sound on the video is actually a very useful way of selecting clips when you’re editing. Coming out of that you then go on to wind noise reduction which doesn’t make a huge amount of difference. The final option is manual movie settings. If you leave that off, then even if you go into manual on here you won’t be on manual settings because you’ve switched it off here. If you switch it on here you can use the manual settings and the auto settings so I would recommend that you switch that on.

Once you’ve changed the menu settings you can start looking through the camera to see what you’re actually seeing when you want to shoot a video. In order to do that you have to press the Live View button at the back. There are two quite important buttons here for when you are in Live View and one is the info button on the top and the other is the i button which is down on the bottom left-hand corner next to the screen. When you switch initially to Live View you will see a lot of information going along the top of the screen. Now, because you have switched on to Live View this isn’t yet on to video mode and so a lot of the information is, in fact, for stills so for example you will have what mode it’s in, whether it’s on auto or manual aperture priority, flash on/off, the shutter setting, the auto focus settings, the picture control setting, the white balance and whether the stills size and quality. If you press the info button on the top once then, you will now be in video mode, and that tells you more relevant information about what you have actually got as settings for video. If you are in this mode and you press the i button, that gives you all the things that you can change when you are in this mode. If you are on auto it allows you to change the frame size and quality, the microphone settings, the wind noise reduction and the focus mode. If you switch the camera to M for manual and go into that setting then it will give much more information. It will show movie frame size and quality, the white balance, the microphone settings, ISO, the picture control, wind noise reduction, auto focus area mode control and the focus mode. So that is one really useful way of seeing what is available to you when you are shooting video. If you press the i mode again to come out of that and then press the info button again, then that information disappears, so that the screen is fairly bare, but we do get the marker showing the extent of the video. When you’re shooting video you will notice that you don’t get the entire full screen that you would when you’re shooting stills and that is because the area of the sensor being used to shoot video is smaller, and so you get a smaller area on the screen that actually is included within the video range. That will change slightly if you’re shooting 1080 or if you’re shooting 720 so it’s worth keeping an eye on. If you press the info button one more time, then you get the grid so that you can keep everything level.

In many ways the settings for shooting stills or videos on a DSLR are the same. For example, you can use the dial mode to select the mode in which you want to shoot either stills or video. You can have it on AUTO you can have it on Manual and the parameters are effectively the same. You can change your ISO, you can change your aperture or you can change your shutter speed. The only extra element when you are shooting video is your frame rate and that is selected when when you chose 1080-60 or 1080-50 or 30 or 25 or 720, so the frame rate is the extra element for video. Now if you are shooting at a given frame rate it is recommended that your shutter speed is twice that frame rate. So if you are shooting at 30 frames per second, the shutter speed should be about 160th. Likewise if you’re shooting at 60 frames per second then your frame rate should be about 125th. You do have some flexibility here, you could easily go up to 1/200th or 1/400th if that’s what you want without the video suffering too much.

In terms of keeping quality as good as possible then you’d like the ISO to be as low as possible and the aperture, of course, will control your depth of field. The three elements here, ISO, Aperture and Shutter Speed can all be changed when you are in the manual setting. The odd one out, in a sense, is aperture because you cannot change the aperture when you are actually shooting the video, so you need to pre-set your aperture and you can only do that outside of Live View. When you are in the back screen you can change aperture by pressing the exposure button on the top and using the main dial. Now at this point you can also change the ISO and the Shutter Speed in exactly the same way. You can change the shutter speed by using the main dial on its own and you can change the ISO by looking at the i button and moving across and choosing the ISO and changing it. However you may want to change either the ISO or the shutter speed whilst you are actually shooting the video, in which case you can either use the function button which you have preset to change ISO and use the main dial which will change the ISO, even if you’re shooting at the same time. Or you can use the main dial on its own to change the shutter speed. Again even if you’re shooting video at the time and the great thing about using the back screen is that you can instantly see the change, in either changing shutter speed or ISO, the image will go lighter or darker.

Source by Jeremy Bayston

Creating Viral Mobile Videos – MMS & File Sizes

If you want to create a video that can be spread virally via the mobile phone medium you must adhere to strict guidelines. The video must be able to be forwarded via MMS (Multimedia Message Service), which means the video must conform to MMS standards.

The general standard file size for an MMS is 300kb maximum. However, you should always create your videos with a maximum file size of 295kb, to leave room for any header information that may be added by the network/carrier.

Some phones won’t let you send an MMS that exceeds this file size, while some carriers will simply charge you a large fee if you exceed the 300kb limit. For example, in America ‘AT&T’ have been known to charge their subscribers massive fees for every large MMS that exceeds 300kb, subscribers are then shocked come bill time because they did not do the proper research.

Every carrier is different and it is recommended that mobile users read up on their phone’s MMS capabilities and the carrier’s file size. It is also important to note down how much extra you will be charged if you exceed this limit. It has been reported that in Australia ‘Virgin’ only allow their users to send an MMS if it stays under the 100kb file size. The 100kb was obviously designed for pictures, not video, meaning Virgin users won’t be your best target market if you want to get a viral video to the masses.

An MMS cannot be fragmented. This means it cannot be broken up into 2 messages and collated on the receiver’s phone as a single message. When you type an SMS message that exceeds 160 characters, your phone will send the message in 2 separate parts and the receiver’s phone will then put the 2 together to make it look like a single message. MMS does not have this functionality! A video cannot be broken up and sent across a network.

The sending of an MMS is event-based, not data-based. Therefore, MMS customers are not charged for the GPRS component utilised during the carriage of their MMS message through the network. As a user you are billed on the event, not on the size of the video. It doesn’t matter whether the video is 230kb or 295kb, the cost to the user is still the same. For this reason, producers of mobile videos might as well get as close to 295kb as possible. The only benefit to the user is that smaller videos will reach their phone quicker, but the time difference is not worth worrying about in today’s mobile world.

While 300kb is currently the generalised standard for most countries like Australia, we are now seeing high-end phones, carriers and networks all strategically pulling together to double the 300kb limit to 600kb. For example, the BlackJack 2 has a limit of 600kb, and a recommended video file size if 595kb. Only a small minority of people can receive an MMS of that size, so I still recommend creating all viral videos at 295kb to get your viral video to the highest number of eyeballs.

Do your research and know your market’s capabilities:


– In India, it’s common for mobile videos to be 100kb

– In Sweden, the network Telia restricts MMS size to 300kB

– All 3G compatible phones can receive/send 300kb MMS

– Most older phones may only allow 100kb, whilst even older phones may only allow 50kb

– Nokia S60 devices have a 100kb limit, whilst Nokia S40 devices only have a 45kb limit

Australian Market

– Telstra = 500kb

– Optus = 200kb

– Vodafone = 100kb

– Three = 300kb

– Virgin = 100kb

Source by Christo Fox

How to Choose a Video Production Company

Determine the size of the production company you need. Although there are many factors that determine the cost of a video shoot (as explained later), the first consideration for staying in budget is the type and size of the production company. Large production companies have multiple studios and sound stages, editing suites, and a sizeable staff. These are the people that television stations and Hollywood producers call on when they need a local production for television, cable, or film. They are very experienced and produce fantastic results, but a considerable price tag must accompany such overhead. Often they are unable to service small businesses because they cannot accommodate such small budgets, as they’d usually have plenty of calls and projects from clients with deep pockets keeping them busy. The next step down is a smaller, full-time production company. Small and medium sized businesses are the core of their clientèle, so they are compelled to keep a video project as lean as possible, yet deliver the best possible quality for the money being paid. These production companies may have a small, single studio and editing suite, or they may work out of their home studio and rent a sound stage when the project calls for it. There may be one or two full time employees, and the rest are contract crew on a per-project basis. This helps translate into lower production costs for you. The final category of video producers is part-time, weekend-only videographers. These producers have a camera and a computer, and want to make some extra money on their free time. They can often underbid anyone else in town, because they already have their full time job and any extra money on the side is fine with them. But their ability to understand corporate, commercial, and broadcast needs are limited, and often shows in the quality of their production…it just looks like really good quality homemade video.

Choosing a medium-sized, full time production company will give you the most bang for the buck. This is not to say that large companies intentionally price themselves out of range for small businesses, some may be very willing to work with you. It’s just that a large production house will probably not be as eager and excited to earn your business for a $2000 project when they’re used to getting calls for $20,000 jobs on average. You don’t need to directly interrogate each company about the size of their business. Look at their website and see examples of their clients…if they seem to favor Fortune 500 companies, TV stations, and feature films, then you can assume that they’re a large production company. Or if you see a 30,000 square foot facility with immaculate furnishings, you can deduce that the price tag they give you will be sizeable.

Compare company demo reels to see who can give the best quality for your budget. Once you’ve determined the size of the video company to use, then it’s time to compare demo reels among the companies in your price range. One of the main factors that will determine visual quality in the portfolios is the format the project was shot on. Video technology changes drastically every 4-7 years, and what was broadcast quality 15 years ago with $50,000 cameras can be achieved with a $3000 HDV camera today. The producer should match the video format with what provides the best noticeable quality for your budget.

There are many other factors that can determine the overall quality of a video production, but choosing the format is the foundation upon which many other costs are built upon. You have to ask yourself, “Will spending X amount of additional dollars on a higher-end format increase my response rate or accomplish my objectives better?” If you’re doing a TV spot, then quality is critical for that first impression. For an employee training video, immaculate image quality is probably not critical. That’s why it is the opinion of this author that the HDV format offers the best balance of quality and cost, for any type of video production. As you watch the demo reels and portfolios of various production companies, pay attention to not only the mere image quality, but also the lighting, camera movements, and audio quality. One way to practice this is while you’re watching TV at home. Instead of zipping past the commercials of the show you’ve tivo-ed, watch and focus on the details of how national commercials are shot. Notice the smooth diffused lighting, the track/dolly camera movements (i.e., not much zooming!), and the deep contrast with vivid colors. Even if your video project is not a commercial spot, you can train your eye to notice quality by comparing it with the standard.

Consider the professionalism and business practices of the company. After a budget is finalized, the producer should create a treatment (blueprint for the video) upon which your contract will be based. You should know ahead of time exactly what will be done, what equipment will be used, what crew will be hired, and how each scene will be storyboarded. Granted there is an element of creativity that will vary and not necessarily translate directly onto paper, but strive to have everything in writing so that there are no misunderstandings or faulty expectations. Consider the personality and professionalism of the salesman, the director, or producer you are working with. Do you sense that he understands your industry or is eager to learn about it? Does he provide valuable input without being pushy or cocky? There should be a free flow of input into the project from both sides, without any ego problems. These traits may seem trivial, but video producers can be a creative and finicky bunch that take their art very seriously. It is paramount to have not only a creative team, but one who puts your needs and goals above their own.

Source by Paul Lyke

Life + HD = Lifesize HD Video Conferencing

High Definition makes life a little clearer and more beautiful. In a nutshell, HD provides a substantially higher resolution and definition than your everyday standard. HD quality can be found not just in televisions, but also HD DVD’s, specific HD television channels, and even HD computer screens. But why stop there? Some of you may already know this, but for those who don’t, there’s another HD option out there – Lifesize HD Video Conferencing.

But why video conferencing when there are so many programs out there that already provide a webcam interface? Well, regardless of how many options are out there for video conferencing, there still isn’t one out there that truly satisfies its users. In fact, here are the top 3 issues users have when using some form of video conferencing:

1) Awful picture quality and sound

2) Slow/lagging program

3) Overall complicated user interface

Lifesize HD Video Conferencing took those problems into account and made them a thing of the past. The high quality image, sound, and user interface that comes with Lifesize Video Conferencing is so revolutionary that current users can now not even imagine running their business operations without it. Lifesize VIdeo conferencing can be used by practically any department from finance, engineering, human resources, manufacturing, marketing, product development, sales, training, etc. and can play a vital role in the success of the business.

How can Lifesize Video Conferencing help out your business?

  • Cuts down travel time
  • Prevents meeting delays
  • Organizes meeting
  • Display high quality presentations
  • More involvement among employees
  • Real time, high quality exchange of information, regardless of time or place
  • Faster response
  • Improve customer service
  • More engagement in communication

Many businesses would agree that integrating Lifesize into their operations has significantly provided them with more efficiency, productivity, and a definite competitive edge.

… But of course, there are those companies that are small in size and would prefer to invest in a more affordable option of video conferencing without having to skimp on the features. Well, now smaller businesses can purchase HD video conferencing without having to worry about complicated technology on expensive technology.

Lifesize on a Smaller Scale

Lifesize is known for bringing world class, HD video conferencing to big businesses around the world, but now, it can also be an option for small businesses. The Lifesize Icon 400 is specifically designed to bring the same power and quality one would expect from Lifesize to a much smaller scale. It provides small meetings and huddle rooms with the ability to participate in high quality video conferencing, without having to worry about installing a large, complicated, and expensive solution.

The Lifesize Icon 400 may be smaller in size, but it is definitely not lacking in any of the exceptional features. You can still expect features such as seamless call escalation, shared directories, virtual meeting rooms, guest invites, etc. just to name a few. This is also on top of the obvious qualities to expect with Lifesize such as next to perfect video quality, great sound quality, easy user interface, and automatic updates. Features such as those just listed are what make Lifesize such an immersive experience. It beautifully brings together its users so that they can share their knowledge, ideas, and overall presence with others around the world.

What makes the Icon 400 different than other Lifesize video conferencing solutions is the way in which it is designed. The camera and the end point are built into one piece of small and sleek equipment that can be placed on any sturdy surface. There are also fewer cables, making it much easier and quicker to install. Lastly, it is designed so compactly that it can only support 1 display, 1 laptop, 1 audio device, and 1 Ethernet cable at a time. Remember, this was done with intention for the small conference room. So keep in mind that although it may be smaller in size, that does not at all mean that the features and quality have gone down as well.

Interested in sharpening your businesses’ edge? Contact us and let us know!

Source by Mona Chagala

How About a Vision Map Video For Weight Loss?

Happy New Year to you and yours, this is the time of the year when we make our new goals and look at the old goals we didn’t keep. Many of us are looking for new innovative ways to manifest our goals and one of the most powerful, and now one of the most acceptable methods is visualization.

Visualization has been around for years and many people have practiced it and been very successful; then there are those that just aren’t that sure about it. I want to encourage you to use it and watch what the power of your mind can do. Weight loss and burning fat can be assisted by the power of the mind and thoughts; I would like to report that it is very effective on any body type and any lifestyle.

Another thing to remember is that weight loss cannot be successful by constantly reminding ourselves that we cannot loose weight or how terribly hard it is to loose. We also need to stop talking about how impossible it is to loose weight to our friends, family and co-workers.

Now it is time to get into action with visualization; visualization is sort of a mind game you play with yourself, but it is a productive mind game. It is more like employing a method of mind over matter; which includes visualizing, affirmations, vision map video and talking with positive statements the way we want the situation to be; not the way we see it now. Effecting change through visualizing creating desired outcomes, has become more and more acceptable in recent years.

The really great part of this is that you have complete control over how you set your program for weight loss; hold a picture in your mind of your ideal body, see yourself in a favorite outfit and doing an activity that is difficult for you to do now. This is done on a daily basis, preferably in the morning and again prior to going to bed. This will bring you closer to your weight loss goals by working on your subconscious mind to achieve the desired results.

Once the mind understand that we want to loose weight, it will just automatically lead is into that directions. Many times people that need to loose weight feel and/or believe that they cannot loose weight and that is where visualization can shift that belief and teach your subconscious mind to co-operate in your intention to shed the pounds.

Start today to construct a picture in your mind of yourself at a reduced weight and clothes a size smaller, you can use a vision map video to help with the visualization, you can also get a picture when you were the size you want to be today and keep it with you, have it on your desk, and especially keep it on the refrigerator. The reward of this will be that desserts will seem less tempting and long walks will seem more fun because your life will form the way you are visualizing.

If you are ready to this inner work, you will find a healthy lifestyle, true inner peace and a feeling of complete accomplishment and the beauty of it is that you did it yourself; this is your own personal accomplishment. You did this with the massive power of your mind. Happy New Year and successful visualization.

Source by Darlene Siddons