All posts by tmcvideos

5 tips for aspiring video producers


  1. Identify job opportunities. There’s a lot of opportunities for video work. You can find traditional jobs or keep an eye out for freelance opportunities. Sometimes, you can start smaller than that.

Maybe a family friend wants a video of their kid’s a ballerina recital. Offer to record it. Maybe there’s a live event in your area that’s never been recorded. Reach out to the organizer and see if someone is interested.

Maybe there’s a new business or social group you’re involved in, offer to make a video to promote them for a reasonable price. As you put yourself out there, others will begin to recognize your abilities and associate you with your skills. This will lead to better opportunities as you grow. If you’re going to school for video production, ask your professor if they know of any job leads. That’s actually how I started side business once I graduated. A former professor reached out because someone contacted him for a job and he passed it on to me. In fact, that job was for an annual event that I recorded for 6 years. Keep your eyes and ears open for opportunities – they’re out there.

  1. Use what you’ve got. You don’t have to have the latest and greatest gear. Quality is important, but these days you can use a cell phone or an inexpensive camera and some $10 work lights to create something that looks good. Remember, the message and story are the most important. Don’t get wrapped up with what skills or equipment you don’t have. Instead, maximize what you do have and use at as an opportunity to get better.

When I was 19, I started working for a live sound company and I was learning how to make bands sound good on stage. There was a sound guy named Barry that told me this… “In any job – big or small, just remember one thing. It’s not your gear, it’s your ear.”

That phrase is a reminder that the ultimate factor is your skills and use of resources, not the equipment.

  1. Don’t forget the fundamentals. Don’t ever make excuses for poor production. At a minimum, tour shots should always be properly exposed, in focus, and well-framed.

    Over the years, I’ve met people that make excuses to not practice the fundamentals, or some are just unaware, but it always costs them more time or a compromised result.

    For example, some beginners underestimate the importance of lighting and proper exposure. Instead of taking some time to set up a light or position their shot to take advantage of natural sunlight, they’ll shoot something underexposed and spend hours trying to correct it in their video editing software.

    And trust me, the end-result never looks great. Colors are dull and flat, there can be unflattering shadows, skin tones, and the list goes on. So, don’t forget that it’s the camera’s job to capture light. In the simplest terms, that’s all any camera does. So if your camera needs light, give it light. Make your subject look good.
  1. You’ll get better with time and experience. Get out there and shoot! Shoot indoors, shoot outdoors, shoot interviews, shoot b-roll. Anything you can do will be a learning experience. Don’t be afraid to fail, just try your best!

There’s countless videos out there that talk about doing “this special trick” to make better videos or buying “this gear.” What they’re not telling you is that you really become better with experience. Equipment comes and goes. I’ve been doing this for 10 years, and I’ve probably used about thirty different professional cameras. Special tricks come and go. What’s trendy today is old news tomorrow. Experience is what sticks with you from beginning to end and it’s what separates the pros from the beginners. If you stick with it long enough and try your best, that experience will be the most valuable tool you have. And you only get it when you do it.

  1. Work with others to develop your skills. And when you get the chance, try to work with someone who is more experienced than you. Ask them how they would handle a shoot. Show them your work and ask them to provide you with feedback. A couple of months before I graduated college, I called up the best video ad agency in town and asked to speak to their senior video producer and he took my call. I told him I was looking for feedback on my work, and he spent the time reviewing my portfolio and gave me honest feedback. To this day, I remember things he told me to try and they’ve made me a much better producer. Truly successful people want to see others succeed, especially when it comes to the next generation. So, it never hurts to ask for guidance.

That’s my free advice. Let me know what questions you have in the comments!

5 Tips to Hiring a video producer

Ok, so this is a different approach. Most of my videos are catered towards video producers honing their craft, but what if you’re not interested in that? What if you just want to hire the right producer to do the job. This video is for you!

1. Ask for portfolio.

  • What’s the quality?
  • Were any of these projects local? Recent?
  • Did the producer do all of it (shoot, edit, write) or just parts of it?
  • Compare those answers to your goals. Are they relevant?

2. Ask for references.

  • Whether they’re a beginner or pro, they should at least have 3 references. Do your due diligence and take the time to contact them to verify their work and if their past clients would recommend them. It’s won’t take much time and could help provide insights before you make your decision.

3. Establish deadline from the start of the project, and set up check-in period

  • This will ensure they understand expectations, helps them plan their workload of other projects, and is courteous to both parties involved.
  • Check-in periods can serve as milestones to the end deadline to make sure you’re on the same page. Examples would be a check-in call to discuss the script, or a check-in call a few days before the shoot to verify scheduling, locations, people involved, and lastly, a check-in call after the first edit is complete. Each project is different, but some form of check-ins help you know what to expect and gives guidance to the producer to achieve your desired product. And during the check-in, ask them for their opinion on how they think it’s going and if anything should be changed. If they’re a seasoned professional, they may be able to provide great tips to make the video better than you expected!

4. Ask who retains copyright. In almost every case, the client should retain full copyright use of the

  • Many producers will ask if they can include segments or the full video to prospective clients in their portfolio. Discuss that upfront and ask yourself if that’s ok. If you do choose to allow it on their portfolio, ask if it will appear publicly online (Youtube, Vimeo, or similar sites). There’s no right or wrong answer. For example, I produce mostly corporate videos that are used for the company’s internal purposes only, so those types of videos I do not share on my public portfolio.
  • If you work for a large organization, you should consult with your Legal team.

5. Ask for proof of insurance

  • This will quickly weed out any amateurs. Let’s face it, if you’re hiring a video professional, you want them to be insured. Accidents happen whether it’s an injury, property damage, or something else unexpected, make sure you ask for a certificate of insurance.
  • Insurance for a video producer doesn’t cost much. My policy which covers myself, injury, damages, and my equipment, only costs around $300/year.

And if you are a video producer watching this, how do you measure up?

“Production” vs. “Producing”

On Youtube, I’ve noticed something interesting. It’s really no surprise, but quote-unquote “production gurus” are a dime-a-dozen. It’s the camera, it’s the microphone, it’s the gear review, and I’m guilty of it in my previous videos.

It’s easy to talk about this stuff, because production techniques are well-documented, relatively constant, and easily attainable. Think about it. For the last 50 years, there have been technological advancements in video/film, but the basic production concepts and practices haven’t really changed. You have a camera, lights, and a microphone to capture light and sound. Think about that.

Production is really boiled down to that simplicity: capturing light and sound.

Well, if that’s “production” what is “producing?” Great question. In my opinion, producing is developing content and making conscious decisions on how it’s presented.

On Youtube, you don’t see a lot of producers explaining their craft. Usually, this is something learned in college classes or on the jobs at TV stations or production houses. When I was in school, there was a female student friend of mine who said she wanted to be a producer. Looking back, the professor took her seriously, but questioned why she wanted to do it. At one point, he said “anyone can produce.” Maybe that’s true, anyone CAN produce…there’s evidence of that everywhere. But, it takes a special person that can produce WELL.

When I’m producing anything (big or small), I try to focus all my attention on two things: the story/message and the elements.

The story is really about what you want the viewer to take away from the video. That’s key – you have to stay in the viewer’s perspective. A lot of beginners have trouble grasping that. Honestly, it really takes time and experience to watch and think about your content from the viewer’s perspective, because you’re focused on so many other things, but view’s perspective is THE MOST important.

So, number one is the story/message. What is number two? The elements.

Elements are like the pieces of the puzzle that you use to tell your story. So many stories are essentially the same, but the way stories are told is what can make them exciting, compelling, or memorable. What are examples of elements? One could be a show host or narrator. That’s an element that will dictate if your story is told in first person, third person, or some other form.

Another element could be a “nugget.” A “nugget” may be an interesting fact, statistic, number, background info – something that gives your story context or background. You can use nuggets to help the viewer better understand your message or emphasize certain points that help tell the story. For example, if you were doing a documentary on The Titanic, nuggets would be when the ship was built, how much it cost to build, how many passengers were on board.

One way you can present nuggets or other important details is visually through graphics. Graphics can be map, pictures, illustrations, text boxes. These are elements that help supplement the visual story.

Graphics are very effective when they’re paired with other elements. If you have a host, use a graphic to tell their name, title, and location. If you have a nugget, use a graphic to emphasize or visualize it. If you watch local news, you’ll see all kinds of graphics. Think about it, you may say maps, pictures, captions, bullet points, anything and everything that helps give viewers a visual cue to better understand the story.

Let’s pause for a second. Now you’ve learned about production and producing, but how do they connect? How do you turn a producer’s thought into part of a production? The answer is “editing.”

Editing is the bridge between production and producing. Editing can be something you do in software to piece a show together, or it can be live-switching during a broadcast. Editing can be the choice to omit something, add something, or embellish a part of the story with music and graphics.

Editing can set the tone, it sets the pace – which is the perceived speed of the viewing experience. Have you ever watched a 2 minute video that felt like a 10 minute video? Or have you watched a three hour movie that felt like a fast-moving roller coaster?

That’s pacing and it’s something that so many beginners struggle with controlling. A lot of beginning producers and editors try to “fill time” to make something a certain length. Or maybe the opposite. Maybe you filmed an hour long event and you don’t how to present it in a 10 minute form. Pacing can be so simple, yet so complex to control, that we’ll have to talk about it in another video.

You can see good producing anywhere. Maybe it’s long-form like TV shows, movies, live events. Or perhaps it’s short-form like commercials, music videos, or social media content.

Next time you watch a video, think about how it’s produced. If you can master the basics of production and producing, you’ll stand out and you’ll be unstoppable. If you want to be successful and have lots of opportunities, focus on both. You can do it.

6 things you need to know about memory cards

[embedyt] https://www.youtube.com/watch?v=u62UWyTOTL0[/embedyt]
  1. Brands (listed in the order of my preference)
    • Sandisk is my first choice. I only use Sandisk for my personal and professional work. The other cards listed below are great quality too, but some brands can be hard to find in brick-and-mortar stores. Sandisk is available just about anywhere.
    • Patriot
    • Kingston
    • Lexar
    • PNY
    • Transcend
  2. Class or speed
  3. Memory card readers
  4. Lock your cards when you’re finished with a shoot and keep them locked during import to prevent accidental overwrites/deletes/corruption
  5. Formatting or “erasing” your cards
  6. Protect your cards with card carriers

Gear deals guide for February 2022

Vinten Vision 3 (Heavy duty, broadcast grade tripod)

eBay listing (without spreaders)

Comparable eBay listings

Archived listing from B&H (provides tech specs on the tripod head including payload)

Archived listing from Adorama (includes full description)

GLS Audio XLR cables

25-foot XLR microphone cables – 10 pack

Comparable XLR microphone cable (industry standard for professional A/V world)

7Rhyms I-Ray wireless lavalier microphone set (2 mics, 1 receiver)

eBay listing

Specs from the manufacturer (Runs on 500MHz band)

Comparable product: Saramonic Blink Pro B2 (Runs on 2.4GHz band)

Comparable product: Rode Wireless Go II (Runs on 2.4Ghz band)

IntellyTech LED light deals

IntellyTech eBay Store

IntellyTech Nitro Bi-Color 54W LED Kit – eBay listing

Same item – B&H listing (substantially more expensive)

Same item – Adorama listing (substantially more expensive)

Intellytech Pocket Cannon Daylight 2-Light Fresnel Kit – eBay listing

Same item – B&H listing (substantially more expensive)

Bonus link: The best LED video light I’ve ever used

The $15 LED video light they don’t want you to know about

[embedyt] https://www.youtube.com/watch?v=CKsEonWBQkQ[/embedyt]

Are you looking for an affordable LED video light that’s dimmable, daylight balanced, has a built-in rechargeable battery, and tilting base that’s ready to be mounted to a tripod or light stand?

The Smart Electrician 1,000 lumen rechargeable LED video light has two dimmable modes: 1,000 lumens or 5,000 lumens. The light is daylight balanced to 5,000 degrees Kelvin, with a CRI of <78. It contains a micro USB to USB-A charging cable to charge or power on the go. The rechargeable battery is rated at 5,000mAh capacity. The light is currently priced at $16 at Menards.

If you purchase the light from Menards, consider adding a 5,000mAh USB battery bank for an additional $4.

Purchase links:

Smart Electrician 1,000 lumen rechargeable LED video light

Tech Theory 5,000 mAh USB battery bank

Camvate light stand mount to ball head 1/4 thread adapter

USB power blocks (5 volt, 2 amp)

How to mount a tripod (Quick Release) plate without blocking your battery/Memory Card Door

Have you ever tried to mount a quick release plate to the bottom of your camera only to find it prevents access to your battery or memory card compartment?

In this video, The Sharp Shooter shows you how to use a cheese plate to create a new mounting point on the bottom of your camera to allow easy access to the battery and memory card door.

With this trick, you can keep the quick release plate on the camera, even when you need to replace a battery or memory card.

Link to cheese plate: https://www.bhphotovideo.com/c/product/1421777-REG/smallrig_1091_cheese_bar_with_1_4.html