A few questions about filming events

[shadow_dog_dx]

Hi i recently started fliming events (like functions, dinnners, parties etc)
and really need some help about some things.

1: lighting- what do i do when the lighting is really bad, at a recent filming the lighting was very dark, i asked if they could turn it up and they said they couldn't. When i gave the film in, the lady said it was too dark and wanted me to make it lighter so I had to lighten it up in post which isn't to pretty.

2: post- After i had done an event i burnt the lady 5 copies of it on dvd and she told me that she wanted a few shots in different order so i had to reburn them again after that. So i decided the next time i would burn one ask them if there was anything wrong with it and fix it and then burn the rest.
But then the next time i did this but the person decided to give me about 50 things they wanted improving on and for the price I charged this was over the top. do you guys give the client a chance to change it once its done and if so do you burn it to dvd and show them or what?

3: Filming - the fact that you can't be at 2 places at once and they complain that you missed something, or you didn't film something how they want.

ive got like 10 more things but i can't seem to remember them at the moment
but i just want some opinions from any one about wat they do in some of these situations.
thanks alot.

 

[volcano]

Welcome to world of video business shadow_dog...

1: lighting- what do i do when the lighting is really bad

You do 'light' the venue. You buy some lights and use them. There is no buts and ifs, or tweaking a setup wont help. If it is dark, you have to use lights...

2-do you guys give the client a chance to change it once its done and if so do you burn it to dvd and show them or what?

Great question. It all depends on the AGREEMENT, which is the CONTRACT. In my deals, i gurantee to deliver a REVIEW COPY, and dont forget to mention:
"Although I'll do my best, changes are up to my discretion..."
Or you can add:" Any change request will be subjected to additional charges..." and avoid client requests...

3: Filming - the fact that you can't be at 2 places at once

Prepare a checklist(a form) that your client will ahve to fill before the event. And in that form ask a question:
PLEASE WRITE DOWN ANY CRITTICAL FOOTAGE THAT YOU WANT IN YOUR FINAL PRODUCT.
(This way you can explain them AGAIN what is possible and what is not. Remember, most of the clients have no concept of TIME, SPACE, EDITING etc. ) It is your mistake not to make clear to them what they are getting with a SINGLE CAMERA...

 

[shadow_dog_dx]

hey volcano thanks alot for the quick reply, when you say light the venue what do u mean by this. do you mean the camera on board lights? if so can you recommend some cheap ones.
thanks agen,
jony

 

[volcano]

when you say light the venue what do u mean by this. do you mean the camera on board lights?

Nope, not on camera lights. I mean a proper light kit with several thousands watt. Although on camera lights are great,
1-they are useless from a distance
2-They cover a smaller area
3-They provide a very flat light...
4-They disturb the subject...
So use on camera lights when asthetics of lighting doesnt matter. For example partying people in dark reception halls... (Of course on camera lights can be used more professionally, by combining with other light sources)

if so can you recommend some cheap ones.

No i cant recommend cheap ones, cause i dont know any.
My minimum suggestion would be LOWEL lights, a nice compact set:
1 LOWEL DP(1000watts)
1 LOWEL OMNI(500W)
1LOWEL TOTA(great fill light, 750W)
Or, many event videographers use 2 Tota 1 Omni, or other combinations. Do not spend money on soft boxes (as an event videographer), cause any hard light source can be easily converted to a nice soft light...
For cheap lights I remember somebody was suggesting Home-Depot.

 

[Alexa]

First of all, I have to ask why you posted this in "cinematography." well, I guess you picked the best spot. Just a pet peeve. MOST event work is not really cinematography. I say "most" cause I know there are some people in the event world who think themselves, "cinematographers" regardless.

1: lighting- what do i do when the lighting is really bad, at a recent filming the lighting was very dark, i asked if they could turn it up and they said they couldn't. When i gave the film in, the lady said it was too dark and wanted me to make it lighter so I had to lighten it up in post which isn't to pretty.

You are hired to do a job. Make sure the client knows your needs to get the job done. If they can't bring up the lights. Politely tell them right then and there that the footage will be dark. You also tell them you can make it look "brighter" in post, but the footage will be compromised. Yes, use an on-camera source if you have to. Light kits for such events are intrusive and usually an eye-sore. You will lose all referral potential if people see you overtake the ambience or are distracting. A 100 watt light can be found and it can throw distance far enough.

2: post- After i had done an event i burnt the lady 5 copies of it on dvd and she told me that she wanted a few shots in different order so i had to reburn them again after that. So i decided the next time i would burn one ask them if there was anything wrong with it and fix it and then burn the rest.
But then the next time i did this but the person decided to give me about 50 things they wanted improving on and for the price I charged this was over the top. do you guys give the client a chance to change it once its done and if so do you burn it to dvd and show them or what?

You should have a clause in your contract that the client signs agreeing that the end result is at YOUR discretion. If they want changes, tell them how much the changes cost and how much time is involved. You make the decision, but in many cases, you should just do the changes and move on. From the first moment you meet the client, you need to think a lot about client management. How to set and meet their expectations. The fact that the client requested so many, "50" expectedly complimentary changes, is a sign for you that they don't respect your time. Why is that. Think that one out HARD before you take on more business.

 

[500lb Productions]

The most important aspect of ANY service business is MANAGING THE CLIENT'S EXPECTATIONS. If they expect exactly what they get, however crappy, they will be the happiest people on the planet. If the get a one camera edited masterpiece, but expected a multicamera masterpiece with their editing input, then they will never be happy.

1: lighting- what do i do when the lighting is really bad, at a recent filming the lighting was very dark, i asked if they could turn it up and they said they couldn't. When i gave the film in, the lady said it was too dark and wanted me to make it lighter so I had to lighten it up in post which isn't to pretty.

Venue lighting has to be compatible with what you are trying to accomplish. This has to be explained in the SALES process, not on event day. If they want good clear attractive footage, then they have to allow you to light for it (and you have to learn to do that which is another discussion for another section).

If they are unable or unwilling to light the venue, then they have to understand, in advance, the limits that will place on you the videographer, by forcing you to use your "headlights".

2: post- After i had done an event i burnt the lady 5 copies of it on dvd and she told me that she wanted a few shots in different order so i had to reburn them again after that. So i decided the next time i would burn one ask them if there was anything wrong with it and fix it and then burn the rest.
But then the next time i did this but the person decided to give me about 50 things they wanted improving on and for the price I charged this was over the top. do you guys give the client a chance to change it once its done and if so do you burn it to dvd and show them or what?

The best way to manage client input is to charge for it. Up front, explicitly, unapologetically, on the price list. Line item: Client Edits: $200 per 6 changes or whatever numbers make sense to youl.

If it's spelled out up front, then when they say, oh could you make these 60 changes? Absolutely. Let me just get this addendum to our contract. As you recall, I have to pay a post house for these (even if you are your own post house, always referring to each task you do separately adds substance to your requirements), so let's see... 60 changes at $200/6.... thats $2000. but with this many, I think they'll do it for $1500. Ok?

Now the client either pays or doesn't pay, but either way, they arent pissed at or blaming YOU about it.

3: Filming - the fact that you can't be at 2 places at once and they complain that you missed something, or you didn't film something how they want.

Make sure you have a "coverage camera" option in your sales and price list. If they say no... then you can only be in one place at a time.

Do the "list of MUST HAVE SHOTS" on the contract, as mentioned previously. Make sure that they are ON THE CONTRACT.

Also make sure the contract says that the client is responsible scheduling events such that all Required shots are POSSIBLE with the number of camera operators being hired. If they schedule (or do) two things at once, and you can't get both shots, WRITE IT IN YOUR CAMERA LOG and then Immediately inform them that you were filming A while they were doing B and ask them if they'd like to repeat it for filming, or if they prefer to skip it. WRITE DOWN THEIR ANSWER IN YOUR CAMERA LOG. 6 weeks later, nobody is going to remember the timing of the events. The camera log, with your notes about the discussion, the time, and with whom, will be your savior.

All of the above, and more, is why I seriously refused to ever shoot weddings. I really don't like people that much, so to me, it's just not worth the hassle. ;-)

 

[500lb Productions]

Oh yeah, one last thing I once suggested to a friend who does weddings:

Offer a "Full service" package, which is insanely overpriced, but includes 3 cameras and every possible service you can think up, right up to and including a "happy ending."

For those precious customers who "want only the best". Hey, sign here, thats $40,000. And you WILL do literally anything they want since they just paid for your entire season. And for everyone else, theres ala carte.

But chances are, if you're worrying about excessive changes in post, you simply weren't charging enough in the first place!!!

 

[shadow_dog_dx]

wow dudes, thanks so much 4 the help. I cannot beleive i didn't think of some of these thing. 500lb thats genius btw in every aspect thanks alot.
i am definately gonna plan the next filming with a client alot better next time and definately use the tips u guys gave me.
thanks agen.

 

[omar_]

Shadow, you got some really good responses!

I was just going to add that to stop a lot of that is to have a SOLID CONTRACT. Put every single thing you can think of in the contract. Perfecting your contract usually takes a lot of very crappy experiences, but you've got some good advice here.

When I did web development these same issues came up. I used to allow ONE revision based on comments from the client, and ONLY for MINOR revisions. Any additional changes would cost.

You should differentiate between MINOR and MAJOR revisions in the contract. And mention thast major revisions will include an additional charge. This way they know that if they ask you to simply remove a couple of shots it's different then having to re-order hundreds of shots.

That decision is up to you. You have to see what you will tolerate, but the KEY is to put it all in a contract that they sign and understand.

 

[jonnyh1968]

MOST event work is not really cinematography. I say "most" cause I know there are some people in the event world who think themselves, "cinematographers" regardless.

When is the label "Cinematographer" valid? Can someone define?