By: David Sexton, Jr.Pexels[Child Eyes by Dominique Feldwick-Davis, CC0]The Adverse Childhood Experiences (ACE) studyThe Adverse Childhood Experiences (ACE) study was originally conducted by the Centers for Disease Control and Prevention (CDC) and Kaiser Permanente between the years of 1995 and 1997. Since then, it has become one of the most influential public health studies of its kind, prompting investigations into the impact of ACEs on several health and well-being outcomes, such as the risk of alcoholism, smoking, depression, financial distress, and poor work performance (Centers for Disease Control and Prevention, 2016). The research team gathered information about participants’ past childhood experiences, and this information was then compared to self-reported health and well-being data provided by participants to determine how childhood experiences can affect the future well-being of the people who suffer childhood maltreatment (Felitti et al., 1998).The researchers found that traumatic childhood experiences can have serious effects on development, health, and well-being in the future (Felitti, 1998). While a popular topic in the research community, the ACE study is a surprisingly obscure topic for the general public; however, its investigation has produced findings that suggest ACEs can have truly profound consequences for children and their futures. The following are, in my opinion, two of the most shocking insights the ACE study has produced:Adverse Childhood Experiences Does NOT Refer Only to Physical AbuseUpon encountering the term Adverse Childhood Experience, one may be inclined to assume it must refer to physical abuse. However, abuse is only one type of maltreatment that can have an enduring impact on a child’s future. According to the Felitti et al., (1998), Adverse Childhood Experiences refer to three categories of childhood maltreatment: abuse, neglect, and household challenges. Abuse can be physical, emotional, or sexual and neglect can be physical or emotional, as well. It is no surprise that such experiences in childhood could result in hardship for children in the future. However, it is both shocking and distressing to learn that more common, less blatant factors in childhood can also do great harm. Household challenges are factors about a child’s home life, such as growing up around domestic violence or relatives with substance abuse problems, and these experiences can have as significant an impact as physical abuse and neglect on future health outcomes (Felitti et al., 1998).Adverse Childhood Experiences Result in Significant Changes to the Development of the BrainThe term Adverse Childhood Experiences refer to the types of maltreatment mentioned above, but Nakazawa (2016) importantly emphasizes that the term specifies these events are prolonged, unpredictable, and cause a great deal of stress. As a result, the children who experience them endure a near constant stress-response. The physiological stress response is the familiar fight-or-flight state that individuals experience to cope with a stressful event. ACEs put a child’s stress response into overdrive, which causes chemical changes to the genes responsible for regulating it. The result is a predisposition to maintain a high-stress response consistently and well into adult life, which puts individuals at risk of a plethora of serious conditions, such as heart disease.Want to Learn More?To learn more about the ACE study and the effects of ACEs on health and well-being, you can watch the MFLN Family Development Team’s archived free webinar, presented by Dr. Melissa Merrick, Science Lead for the ACE study. FREE CEUS are available upon completion.ReferencesCenters for Disease Control and Prevention, (2016, April 1). ACE study. Retrieved from: https://www.cdc.gov/violenceprevention/acestudy/index.htmlFelitti, V. J., Anda R. F., Nordenberg, D., Williamson, D. F., Spitz, A. M., Edwards, V., Koss M. P., & Marks, J. S. (1998). Relationship of childhood abuse and household dysfunction to many of the leading causes of death in adults: The adverse childhood experiences (ACE) study. American Journal of Preventive Medicine, 14(4), 245-258.Nakazawa, D. J., (2016, September 8). 7 ways childhood adversity changes a child’s brain. Retrieved from: https://acestoohigh.com/2016/09/08/7-ways-childhood-adversity-changes-a-childs-brain/This post was written by a member of the MFLN Family Development Team. The Family Development team aims to support the development of professionals working with military families.
Get your project accepted to fests by following these must-know tips for film festival success!Film festivals provide a great way to get your film (and you!) exposure in the industry…but with escalating competition how can you increase your chances of acceptance? Cream rises to the top, so much of your success is reliant on your creative vision and execution – the film itself. BUT, there are certain steps you can take to insure that festival programmers and judges give your film a fair chance to be considered. Follow these 10 must-follow tips for submitting your film to festivals!Is the Film a Fit?Do your research when it comes to which festivals you’ll apply. Take a look at past films that have screened. Read reviews from past festival attendees. Do the programmers primarily accept narrative? Is there an emphasis on short films? Maybe a preference for the avant-garde or experimental? Is the fest geared toward a certain audience? Closely examine any film festival before you spend your time and money submitting to it. Is your project a good fit for the fests overall goals and theme? If it’s not, don’t try to ‘make it work’.Niche FestivalsInstead, seek out fests that align with the genre or subject matter of your film. There are more festivals than ever before and many are micro-focused on a niche subject such as horror, environmental, documentary or shorts. These niche fests provide a great opportunity for new filmmakers to get their work in front of a captive audience. The big league film fests are for the ‘big leaguers’ . It’s great to dream, but remember that time and money are finite resources– set realistic goals and shoot for what’s attainable. Check out our list of 15 Fests You Should Enter.Budget AppropriatelyWhen raising money for your film (through crowdsourcing, private investors or your own pocket) it’s important to factor in a realistic cost for making any film festival appearance a success. Aside from the cost of submission (around $50 on average) you need to consider what it will cost to market the film at the festival, as well as any costs you might incur from attending the fest yourself. Some high-profile film festivals will cover costs such as hotel (or at least offer a discount), but you certainly won’t receive this with smaller fests. Check out this rundown of film festival budget considerations.Submit Your Film EarlyYou’re free to submit your fest throughout the submission period, but the truth is the later you wait the harder it may be to land a spot. Festival programmers may (and likely) begin viewing and choosing films before the end of the submission period. As time goes on the programming slots will fill, possibly making it more competitive for late applicants. If you’re confident enough in your work to be submitting to fests, than you need to submit early – when the judges/programmers are fresh and less stressed. As an added benefit, many festivals offer a discounted submission fee for early applicants.Screen with Test AudiencesIt’s all too easy for a director to get married to a shot, or an editor to get married to a cut. BE FLEXIBLE. Show your work to other filmmakers and friends whose opinion you value and trust. Tell them to be brutal in their feedback! Nothing will kill your film festival submission like a film that drags. Keep it moving by incorporating what your test audience responds to.Don’t Neglect Sound DesignPoor sound mix and design is a sure sign of amateur filmmaking. Generally, sub-par visuals are more forgivable than a poor sound mix (in fact some entire film styles are based around lo-fi shooting!) Use commercial microphones and ensure that the audio levels are mixed within acceptable ranges. NEVER use commercial music without permission from the creator. Instead, check out royalty free music options to soundtrack your film.DVD Best PracticesAh, DVDs.. For better or worse, they’re still the submission format of choice for most festivals so you’ll need to make sure they’re given a thorough quality check before sending out. A few things to think about:No sticky labels – Sticker labels can wreak havoc on DVD players automatically guaranteeing your project won’t find a home on a festivals lineup.No complicated Menus – Be straightforward. Festival judges and programmers are watching batches of films at a time. They shouldn’t have to struggle to find your “main feature” or have to wait through a complicated DVD menu video. In most cases an autoplay is preferred.No looping – Again, simplicity is best. When the video/film is done, it should stop. Double check that looping is disabled in the burning software.Test the DVD on multiple players – Spin up the DVD in your computer DVD player, a commercial DVD player, etc. Although most players can now read all DVD types, it’s important to check it on multiple systems before sending it off.Check aspect rations – Chances are your project was shot widescreen so you’ll want to make sure that the DVD program you are using for burning is set to the correct aspect ratio.Compression – Maximize the quality. Poor compression and encoding will get immediately tossed out.Don’t Watermark Your FilmUnless your last name is Scorsese or Spielberg you really don’t need to watermark your film when you submit it to festivals. Overlaying “for your consideration” or “festival copy” will only serve to be distracting to the programmers and judges. It may also show a little pompous on your part, as if people are clamoring to pirate your latest masterpiece. Practice humility…and trust.Send A Finished ProductSome film festivals will allow you to send a “work in progress.” Word to the wise: don’t. Even if you miss a deadline, it’s more important to send a polished film. Have you ever shown a client a rough cut? Many have a hard time imagining what the polished finished product will be…what the full potential of the project is. Same logic applies here. Instead, when you’re in production and post keep an eye on the submission dates. Work from a schedule early on to make those deadlines, so you won’t be faced with running against the clock or having to wait a full year to submit a finished project.Follow the RulesEvery film festival has different rules…..how they’d like media labeled, how they’d like to be contacted, what info you need to provide. The list goes on. Follow the film festival rules. It may seem elementary, but it’s just too easy to let a simple oversight ruin your chances for entry.Additionally, don’t send any more information than what is asked for (this includes extravagant press kits!) Resist the urge to bug the festival programmers about your submission. If you weren’t contacted about your entry there is a reason! Suck it up and submit elsewhere! Don’t get blacklisted as an annoyance, thereby ruining your chances for submitting any future projects.Now, follow these tips for film festival submissions and let your project stand on it’s own creative strengths!Are there any tips you would add for filmmakers looking to enter film festivals? Let us know in the comments!
As you play around with the roto brush tool you’ll notice that it tries to automatically detect the element you want effected with each stroke. The tool is quicker with the less strokes you use, so have Command-Z ready to undo any missteps.You can also hold Option while clicking to switch to a de-select tool.Holding Command and moving the cursor up and down controls the size of the roto brush.Start on the first frame you wish to separate and get as close as you can to masking your desired item out. Then move to the next frame and adjust the position if necessary.Remember, with this technique it’s only important to mask out the parts that will have something traveling underneath it. In this case I know that the middle will get all the action so I’m not concerned with making the top and bottom of the tree extremely accurate. The smooth and feather setting are also very helpful in perfecting the mask.As you mask, you can toggle between views with these three buttons.Stretch this effect timeline out to it’s desired length. Hit space to load up a RAM preview to judge its effectiveness between each frame.When you feel you are done leave the mask toggled in this position and then drag another copy of the original video underneath the copy with the mask, making sure the timing on both clips is the same. Ensure the bottom layer does not have the mask applied.Next take your animated element, put it between your two layers and keyframe the movement, adjusting as you see fit. I added a shadow and color corrected mine to help sell the illusion a bit more.This is a simple trick for giving your video image more depth. Experiment with it! Use the roto brush in After Effects to break apart your video image. Once separated, it’s easy to move text, animation or talent behind and around elements in the video frame.No doubt you’ve seen this effect in commercials or title sequences – text slides behind a tree or a car and is revealed on the other side, as if it was part of the original scene. It’s an impressive effect and can be created pretty easily in Adobe After Effects.In this tutorial we’ll show you how to achieve this effect by creating a mask with the roto brush in AE. Here’s a peek of the final product, using a simple handdrawn cartoon:First, decide on the piece(s) you want to cut out. I’ve chosen this tree in the middle of the frame. Create a new composition with your piece of footage and double click the piece of footage within the composition. Now you are ready to select the Roto Brush (the ‘little man’ icon in the toolbar – or shortcut Option + W). It’s ready to be applied to your footage. Click any of the images below for closer view.
This video was first shared by Karl Taylor on his YouTube Channel. Thanks for Sharing Karl! If you want to check out more of Karl’s photography or tutorials you can check out his work at KarlTaylorPhotography.com.Has the Inverse-Square Law helped you in any other ways? Share in the comments below. Learning the Inverse Square Law will help you understand lighting and how it is affected by distance.As a photographer or filmmaker one of the most important lighting terms for you to remember is the Inverse-Square Law, a law stating that the intensity of an effect such as illumination or gravitational force changes, in inverse proportion to the square of the distance from the source. You got that, right?Simply put, the inverse-square law states that there is an exponential relationship between the distance of your light and the amount of light hitting your subject. This means if you move a light from 1 meter away from your subject to 2 meters away, it will only have 25% of the light that was on your subject at 1 meter. If you move your light from 1 meter to 3 meters away it will only have 11% of the light that was on your subject at 1 meter. The same principle applies to any unit of distance. This phenomenon is represented by a surprisingly simple formula:Learning the formula isn’t as important as simply understanding the concept….In practical terms this means if you need more light, simply place your light closer to your subject and you will get exponentially more light. However, there is a trade-off that occurs when you move your light closer to your subject. When lights are far away they are more evenly distributed across multiple subjects or your background, but if you move the light towards your subject there will begin to be an uneven distribution in light. This works great if you are trying to isolate a single subject, but works terribly if you are wanting to shoot a group of people or light an entire scene.The following videos created by photographer Karl Taylor explains the inverse-square law and how understanding it can help you understand lighting more fully as a photographer or filmmaker. The video covers:Inverse-square lawLighting group shotsUnderstanding distance vs light intensityIsolating a subject from the backgroundIf you are still interested in learning more about lighting check out our Lighting for Video series.
When dolly zoom meets timelapse you get the following cool effect – created with a tripod!You don’t have to be a photography expert to shoot time-lapse video, all you need is a camera, tripod, and some time. A quick search on Vimeo will yield hundreds of different time-lapse tutorials, but none quite like the following tutorial created by Eric Stemen of Ocean Llama.The tutorial demonstrates how to create a time-lapse dolly zoom – a shot made famous by Hitchcock in Vertigo. To create this effect you will need a:CameraZoom LensTripodFollow-Focus (Recommended)It should be noted that in order to do this technique your camera needs to have a “guide frames” function. If your camera doesn’t have guide frames you could probably just get away with putting a small dry erase dot on your LCD screen. As with any shoot, make sure you have plenty of cards and batteries!Eric said that he used the warp stabilizers in After Effects to stabilize his final video and it seems to have made all the difference. If you’re a photographer and are not familiar with After Effects, check out our tracking lesson from our Adobe After Effects Fundamentals Course.This video technique was first shared by Eric Stemen from Ocean Llama. You can check out more time-lapse tutorials on Ocean Llama’s website. Thanks for sharing Eric!Have any tips for shooting time-lapse? Have any examples you’d like to share? Let us know in the comments below.
Learn how to perform a basic color key in this FCPX video tutorial.While you may not do a lot of green screen work, learning how to key in FCPX is an important skill to grasp and understand. Chroma keying is the process of removing pixels of a certain color from a video plate. While this may sound simple enough it is actually a very complex process that can cause a lot of stress, especially if the video plate is shot poorly.In the following video tutorial by Dan Allen we will take a look at how to key out green screen footage in FCPX. This tutorial is meant to cover the basics of keying in FCPX:Importing footageUsing the keying effectMaskingRefining EdgesColor CorrectingCompositingThis tutorial was first shared by Dan Allen on his YouTube channel. Thanks for sharing, Dan!Want to optimize your green screen footage for keying? Check out our post ‘Essential Tips: Shooting Green Screen for Chroma Key’ where you’ll find a few tips and tricks for shooting on a green screen.Have any tips for keying in FCPX? Share in the comments below.
The Cooke Optics YouTube channel has only been offering this great content for the past three months. Be sure to subscribe to their channel to keep up on the latest episodes. Working With the Director SeriesThe other Cooke Optics series focuses on the the relationship between cinematographers and directors. In the Working with the Director episodes, cinematographers talk about the directors they have collaborated with on multiple films.Cinematographer Sean Bobbitt has worked with director Steve McQueen on the films Hunger, Shame, and 12 Years a Slave. Bobbitt discusses their early relationship working on art installations and the growth of their careers as feature filmmakers.In this episode, John de Borman talks about his experience working with director Dustin Hoffman on the films Last Chance Harvey and Quartet. Lens manufacturer Cooke Optics has a YouTube channel that should be followed by every cinematographer.Cooke Optics is one of the oldest lens manufacturers in the industry. Since the 1890s, their lenses have been used by filmmakers creating legendary films. Cooke lenses have captured countless iconic film images, like the wondrous world in Wizard of OZ, the glimmering corpse of Goldfinger, the hills in The Sound of Music, and the distant galaxy of Star Wars.Now, the lens company is creating incredible content for the Cooke Optics YouTube channel. The page features fantastic content categorized by Masterclass, Case Study, and Working with the Director series.Cooke Optics Masterclass SeriesThe Cooke Optics Masterclass series features interviews with great Hollywood cinematographers on the specifics of their craft. Each video focuses on a single topic and how that DP achieved the incredible shots seen in the cinema.In this episode, John de Borman talks about his method of composition and framing. He discusses the portrayal of locations and deconstructing the meaning behind characters. Take a look at his work on films like An Education and The Full Monty.Cooke Optics also takes you into the action-packed battle sequences of films from Ridley Scott. Here they talk to cinematographer John Mathieson, who shares some tips on filming big-budget fights from his work on Gladiator, Robin Hood, and Kingdom of Heaven.In this Masterclass, they talk to Phil Meheux about his car-chase work on the two James Bond films Goldeneye and Casino Royale. This crash course shows the work that went into the famous tank chase as well as the legendary Aston Martin rollover. Cooke Optics Case Study SeriesThe Case Study series focuses on more technical aspects of cinematography. Cinematographers discuss details like types of film, lighting choices, camera rigs, and more.In this episode, Ed Lachman, ASC, talks about his work on the Oscar-nominated film Carol. Lachman talks about his choice to shoot on 16mm film as well as his collaboration with Todd Haynes deciding on key lighting decisions.The film Locke spends 90 minutes inside of a car. Director of Photography Haris Zambarloukos, BSC, discusses the challenges of shooting car scenes, multi-camera setups, and working through the entire script every night.On the other end of the production spectrum, Zambarloukos also worked on the big-budget Marvel blockbuster Thor. In this Case Study, Zambarloukos offers a technical breakdown of one of the major fight scenes. He covers working with scale, lighting rigs, and the difficulty of working with computer-generated environments.
The lyric video trend is alive and well. Learn to add some flash to your own projects with these After Effects tutorials.Top image via Taylor Swift Vevo.Music videos have been an integral part of the music industry since the television became a household item. Although, typically, music videos have been about grandeur and symbolic storytelling, in the 2010s, we saw a new music video trend emerge with the rise of video sharing sites: the lyric video.If you have never heard of (or seen) a lyric video, it’s exactly what it sounds like. For the duration of the song, the lyrics appear on the screen, typically in an animated fashion.Cee Lo Green’s “F-You” is attributed as the music video that started the rise of the style. (Warning: the video contains explicit language.)Modern UseIn recent years, lyric videos have served as teasers for forthcoming live action videos. The lyric video generates press and excitement for the new song and its video. However, more recently, lyric videos are becoming more elaborate — to the point that they serve as the main music video itself.For example, let’s look at the recently released video by Taylor Swift, “Look What You Made Me Do.”The animation is far more elaborate than your standard lyric video. Images that reflect the text motivate almost all of the lyrics. For example, “I don’t like your little games” accompanies a hand placing chess pieces on a chessboard. The style is also somewhat reminiscent of a Saul Bass opening title sequence.Within just a few days, this lyric video has garnered 48 million views and has already broken several records regarding view counts. Seeing this result from a lyric video, which would have cost considerably less than a full live-action video, you do have to question the validity of spending so much on a music video in 2017. Not only that but if you’re producing such an intricate lyric video, the live action video is going to need to be twice as elaborate. Taylor Swift certainly didn’t let her lyric video out-produce her live action video.Why Have Lyric Videos Become So Popular?While lyric videos are coming from the biggest names in music, the reason why their popularity grows year after year is that they are entirely cost efficient for indie bands and newcomers. Essentially, and not to diminish the work of motion graphic gurus, anybody can make one with enough time and practice. If a musician were to know their way around After Effects, they could likely plot out a lyric video without ever having to hire a production team.And to that point, what tutorials do you need to learn to make a lyric video?TutorialsAs flamboyant as Taylor Swift’s lyric video is, we’re going to want to start off with the basics of making something simpler with a technique called Kinetic Typography.In the tutorial below from Jesse Rosten, he covers all of the basics you need to make a kinetic text music video. Although the video is six-years old, it has gained over a million views and only has 179 dislikes. This video is your one-stop shop for learning how to make a kinetic typography lyric video. As Jesse states in the description, you need to a basic understanding of keyframing in After Effects.Once have you the basics of kinetic typography locked down, you’re going to want to make your lyrics appear in various ways rather than just panning over to them. In the tutorial below from motion graphics designer Avnish Parker, you can learn how to create smooth writing and masking text, which would be great to pair with Jesse’s tutorial.Not all lyric videos come solely from a compositor. There are a few videos, such as The Chainsmokers’, “Closer,” that blend the best of both worlds. In the Chainsmokers video, you have live action footage compiled with lyrics that fly through 3d space. Thanks to Learn How To Edit Stuff, you can learn exactly how to do that in the tutorial below.Enjoy the tutorials, and good luck!
Skewed Horizon LineImage via Wolfcrow.In most meticulously crafted auteur projects, you’ll find shots that make a point of keeping the horizon line. That is where you naturally tend to look. However, in Blade Runner 2049, Villeneuve and his team made the horizon line just a little off to force you to pay attention to specific parts of the composition — and each shot basically looks like a painting, so it’s worth the indulgence. This is but one of the few ways this film stands out. This approach is also a good way to add intrigue and dread to an established narrative world — a way to make it seem grim and sinister, and ever-so-slightly strange.Adding DepthImage via Warner Bros. Villeneuve also shows us how to create an expansive world. (Despite the film’s hefty budget, these tricks are all Film School 101.) In order to make the world seem lived-in and large, the characters often stand in front of hallways and open spaces that are out of focus — a trick that creates depth. The inclusion of CGI in Villeneuve’s compositions then creates a hyper-realistic backdrop with minimal effects that still serves the story. (Villeneuve used the same tricks in Sicario.)YellowImages via Warner Bros.Wolfcrow points out that Villeneuve uses yellow as a source of information and enlightenment for our hero, K. Anytime a major plot point gets revealed, or a new twist happens, yellow is in the composition somehow. Whether it’s a fire, a light in the background, or a simulated cake, the color acts as a subconscious cue for the audience — and our hero. Notably, the information bank and Las Vegas are bathed in yellow, representing their importance — and the importance of the characters that dwell therein.Color can be an incredibly powerful tool for telling subtle stories and conveying meaning. The beauty of Villeneuve’s color use is that he did this not as a stunt but to advance his story. Find your own style that reflects your personality and fill your projects with it. Have fun with the form, and don’t be afraid to use colors in different ways.GreenImage via Warner Bros.Villeneuve uses green almost every time Joi, K’s robotic companion, is on-screen — as well as anytime we see one of Wallace’s creations. Green typically connotes life and vibrance, which only plays to how the Blade Runner franchise explores the idea of “life.”WhiteImages via Warner Bros. White, representing truth and information, appears in any scene when K comes close to figuring out who he really is. The girl child and her home are bathed in white, representing a beacon for K. Toward the end of the film, K and Deckard approach the building where all the answers will come to light, and what do you know, it’s snowing outside, and the building is white.These are just some of the innovative ways the Blade Runner 2049 team changed the sci-fi game by creating an original, breathtaking sequel worthy of repeat viewings. If you’re interested in more on the franchise, check out our past coverage:How Roger Deakins Shot and Lit Blade Runner 2049The Secrets Behind the Sound Design of Blade Runner 2049Futuristic Sci-Fi Synth:Royalty Free Music for Ultramodern Noir ThrillersHow to Frame a Medium Shot Like a Master Cinematographer In this cinematography breakdown by Wolfcrow, we get an insightful look at the visual motifs that make Blade Runner 2049 so aesthetically stunning.Cover image via Wolfcrow. Casual friends and inspiring collaborators Denis Villeneuve and Roger Deakins have made something special with Blade Runner 2049. This film is so dense with visual and auditory delights that filmmakers will be picking it apart and replicating its tricks for years. Part of the reason the film has won so many awards and received such acclaim is the incredible attention to detail and plot development. Whether it’s the use of certain colors to evoke certain emotions or simply knowing how the audience’s eyes move, these filmmakers have definitely brought a new approach to dystopian science fiction.
Find the digital frontier’s new direction with three ways a creative agency can benefit from having a Creative Director of Video.Since the days of Madison Avenue, the world of advertising has changed drastically. Media and content is now displayed on platforms that once would have baffled advertisers. But, if the media landscape has changed so much, why haven’t the organization, structure, and positions within creative agencies changed, especially in regard to video and video production?We create so much more video content than ever before and Creative Directors are typically the ones at the head of this process. However, most Creative Directors come from a design-focused and design-centric background.With so much more video content being created, a new trend is emerging among creative agencies — having their in-house creative director directing on set. Typically because of their design-centric background, a lack of boots-on-the-ground production experience is something production crews notice. This ultimately affects the end product.Personally, I feel this trend of having in-house CDs on set will become increasingly more popular. However, I do believe there’s one way agencies can combat inexperience, while also creating the best possible video content — through a Creative Director of Video.Traditional Creative Director vs. Creative Director of VideoImage via PopTikaAs a video content creator, when you’re working with a creative agency on a project, one of your first contacts will be the Creative Director. This person crafted the unique creative vision and overall direction of the piece. They also provide the initial vision approved by the client. In a traditional format, the Creative Director would then hire a Film and Video Commercial Director to translate that creative for the actual production.Adaptability Toward Changing WorkflowsWorkflows for video are drastically changing. Before the height of social media, most ads were shot solely as a thirty-second spot.However, times are changing. Now, productions find that clients request more deliverables than in previous years. Brands are now looking for seven-second, fifteen-second, thirty-second, forty-five-second, and one-minute cuts of the same ad. Sometimes, these cuts are to be delivered in 16×9, 9×16, and 1×1 ratios. This increase in final deliverables causes two things: increased workflow and increased post-production cost.To combat and mitigate this rise in cost and increased workflow, Creative Directors are directing more on-set video. For this reason, it’s becoming increasingly more important to have Creative Directors with video and film production experience.Streamlining Creation of ContentImage via Mark PoprockiThroughout my career, I’ve worked with numerous creative agencies on projects. At times, the Creative Directors would give me perfectly buttoned-up creative pitch decks that were ripe to interpret, then create.However, I’ve also been given a four page script full of dialogue intended to be a thirty-second commercial spot, which we all know (as video professionals) can’t happen.By utilizing a Creative Director of Video, creative teams can avoid pitfalls like this. Because of their experience, Creative Directors of Video know exactly what creative can be achieved and how to achieve it in practice — not just in theory or ambition. This sort of filter can streamline the entire production process, establishing a strong foundation.Agencies that have a video production-heavy workflow would vastly benefit from a Creative Director of Video. By utilizing this heavily experienced position, you can gain much more refined creative for video, with a more pointed and deliberate direction, while reaping the benefits of having a team lead with an array of on-set experience.With creative agencies producing video more than ever before, a Creative Director of Video is the perfect position to lead crews into this new digital frontier.Top image via SFIO CRACHO.Want more industry insights on filmmaking? Check these out.How DPs Make the Shift from Commercials to Features and Back AgainFree Script Writing Software Options for the Low-Budget Filmmaker7 Filmmaking Interviews with Real-World Career AdviceWhy You Shouldn’t Cut Your Own Director of Photography ShowreelFrom Favreau to Scott – Filmmakers Who Changed Direction in Post
Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now It’s a universal truth that you never reap what you haven’t sown. You have to plant seeds.But there’s more to sewing than simply planting the seeds. You have to care for that seed to ensure it grows. You have to ensure it gets the water and nutrients it needs to sprout into something more.Neglected Seeds Don’t Grow Into AnythingThere are some people that think that all they need to do is plant more seeds. So they plant a lot of seeds, and they plant seeds all over the place. They believe that the more seeds they plant, the more opportunities they will have to harvest later. So they plant and plant and plant. They’re always planting, never taking time to care for the seeds they’ve already planted. It’s as if they given up on the already planted seeds. But the planted seeds won’t produce anything because they have a been nurtured and cared for.You need to plant enough seeds to ensure that you have opportunities to harvest later. But you don’t need to plant more seeds than you can care for and nurture into life. This is what dabblers do. They spend a little time on this opportunity and move onto the next. They’re never consistent enough to care for one seed, or some number of seeds, until they start to produce rewards. They’re excited when they plant that seed, but they lose enthusiasm when it doesn’t immediately spring into something beneficial.Nurture OpportunitiesConsistency matters. There is a power in focus.Stop and take a look at the seeds you’ve already planted. Are you investing your time and energy in nurturing those seeds to ensure that they grow up to bear fruit? Or are you ignoring those seeds and moving on, planting others only to ignore those seeds to?QuestionsWhat seeds are you neglecting?What opportunities or goals do you have that, in order to bring them to life, require a more consistent application of your time and effort?What seeds have you planted that a little more effort and attention might sprout up to be something big?How do you have to change something to be able to better manage the opportunities that you want to develop?
Get the Free eBook! Learn how to sell without a sales manager. Download my free eBook! You need to make sales. You need help now. We’ve got you covered. This eBook will help you Seize Your Sales Destiny, with or without a manager. Download Now Some companies reserve the spaces closest to the door for their leadership team. They start with the CEO or President and work their way down from there. With those spaces taken, customers are required to park further away from the doors. Priorities are revealed.Other companies reserve the parking spaces closest to the door for their clients and customers. They make all their employees park in spaces further from the entrance, regardless of rank or title.The way parking spaces are distributed provides a glimpse of how the leadership team of a company thinks.Some people believe their company exists to serve their customers. Others believe that the leadership team’s comfort takes precedence over the customer. If you want to lead an organization that creates value, you need to get value creation in the right order.
Let’s imagine that your quota is $2,000,000 this year. Let’s also agree that your average deal size is $100,000 and that you win 50 percent of the deals for which you compete. This is easy math.You need to win 20 deals to make your quota. Of course, the fact that this is an average means that some deals will be larger, and some will be smaller, but overall, twenty is a good number. Remember, however, you only win half of your opportunities. This means you need forty opportunities to reach your quota.This is where salespeople and sales organizations get into trouble: opportunity acquisition.If you divide the number 40 by 12 months, you come up with 3.33. That is how many opportunities you need to create each month. Here is where the wheels come off.If you decide that January is a tough month to prospect, and you don’t create any new opportunities, you just doubled the number of opportunities you need to create in February. You need to double the average number of new opportunities to get back to even (or create opportunities that are twice the average).If you create two new opportunities in February, you carry the deficit of four into March. Not you need seven opportunities. That’s even more than you needed in February. You have fallen further behind. You are now running to stand still.You have a tough time in March. You only come up with one new opportunity, but it is twice the average, so now it counts as two. Congratulations, you are now only 9 opportunities behind where you need to be.Things don’t work out as neatly as I have described them here. That said, the outcomes in the scenario above are all too real for too many salespeople and too many sales organizations. The math doesn’t matter as much as the principle. Prospecting it the lifeblood of a sales organization. It is something that must be done with great discipline and equally great consistency.There is no way to cram opportunity acquisition. An hour of prospecting each and every day can keep you from falling so far behind that it is impossible to catch up.If you want to be be more productive, go sign up for my free 9-part video training series, How to Plan Your Model Sales Week.
Essential Reading! Get my first book: The Only Sale Guide You’ll Ever Need “The USA Today bestseller by the star sales speaker and author of The Sales Blog that reveals how all salespeople can attain huge sales success through strategies backed by extensive research and experience.” Buy Now What is easy for you is difficult for your company.It’s easy for you to win immature and difficult clients when you don’t have to work with them.You can choose to tell the prospective client what they want to hear, building the vision of the added value of your solution. You can show them all of the things that are going to be better for them once you take over the business. You can make it sound like they aren’t going to have to change anything and business will become simpler. Easier.But unless you manage their expectations, deal with their constraints, and gain the commitment to change more than just their supplier, you aren’t doing a good job selling.It’s easy for you to overlook poor credit reports when you don’t have to collect the money or pay for the line of credit.When you take zero financial risk by taking on a new client, it is easy to see the risk as acceptable. If you believe that it is outrageous for your company to require a credit report because a prospective client balks at providing the information, let me disabuse you of this inadequate thinking.If your dream client is uncomfortable providing credit information, you should be uncomfortable selling to them.It is easy for you to discount when it isn’t your money.It’s really just an investment in the client, right? Your competitors win deals left and right because their prices are lower than yours, more in line with what the market will bear, you say? You believe that everyone discounts, so you should, too.Would you pay for the discount with your commissions? Your company has a business strategy, and if the lowest price (operational excellence) isn’t your model, then this is not the way you should be trying to win deals.It’s easy for you to believe that your company should perform better when you are not responsible for dealing with deep, complicated, systemic challenges.You wish your company was better operationally. It would be easier for you if you never had service issues, if things worked as they were supposed to, and if you didn’t have to deal with clients who were struggling to get what they need from your team. You believe, mistakenly, that your competitors don’t have these same issues.Your team isn’t full of poor performers or bad people. Every business has their challenges, and the bigger you are, the bigger—and more complicated—the challenges. Your team is working on it.Things that are easy for you are more difficult for other people within your company. Complaining about these things isn’t a good choice; doing something to make a difference is the better and more effective choice. Even if that choice is stepping into economic adulthood.
Let’s say that you are afraid that you won’t be able to achieve some outcome. Maybe it is unlikely. Or maybe it seems like too a long a shot. You decide not to take action, and to let it go. You’ve lived this long without the outcome you want, and you can survive without it now.By failing to take action, you ensure that you don’t get the outcome you want, whatever it may be.You do, however, have the opportunity to try. You can take action towards that outcome, even though there is no guarantee that what you do will work. But there is at least a possibility that what you do will work.I know that Yoda says there is no “try.” I am telling you, there is.When doing nothing ensures that you don’t get what you want and taking action creates a possibility, it only makes sense to try.Now, to increase your odds.Massive action increases your odds of getting what you want. Much of the time, things that seem out of reach are only so because the amount of work it takes to achieve it exceeds what most people are willing to do. Taking what looks like excessive action moves your odds up.Persistent action isn’t a guarantee, but it’s the next best thing. You have to hit a stone in the same place over and over again before it cracks. It’s not the final blow that cracks it; it’s the accumulation of those blows that splits the stone. Many people don’t have what they really want because they were not determined.Sometimes what you want isn’t something that you know how to achieve. Persistence is good, but so is changing your approach. If what you are doing isn’t working, you are getting feedback. Change your approach and try again.When faced with the choice of losing without playing the game, or playing the game that you might win or lose, play the game. Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Now
Essential Reading! Get my 2nd book: The Lost Art of Closing “In The Lost Art of Closing, Anthony proves that the final commitment can actually be one of the easiest parts of the sales process—if you’ve set it up properly with other commitments that have to happen long before the close. The key is to lead customers through a series of necessary steps designed to prevent a purchase stall.” Buy Now There are a lot of reasons that your dream client might reject your request for a meeting. Those reasons include the fact that they already have someone providing them the same product or service, they’ve met with salespeople who provided a less than stellar experience, or they are simply overwhelmed with work. But there is another reason, one that lives at the subconscious level, something that your prospective client isn’t aware of now. They worry that you will mistake the commitment to meet (what we call The Commitment for Time) for the commitment to buy (what we call The Commitment to Change and the Commitment to Decide, in that order).Even though you have only asked for a meeting, your dream client knows that you are going to want to talk to them about what they’re doing now, what needs to be different, and why they should consider swapping out their current provider for someone they just met for the first time. Naturally, they’d like to protect themselves from this experience (and if you are reading this, you might reflect on how you guard yourself from this every same scenario when your brother-in-law the financial planner visits you on holidays).There is also something else going on inside your prospect’s subconscious. They know deep down that they need to make change. There are areas where they need better results and, because they are shared with improving those areas, they feel some need to do something. This creates an internal conflict. Right now there are areas of your life you would like to improve, but you also resist taking action (this is true if you’ve ever made the same New Year’s resolution more than once, or if you ever promised yourself that you’d change “starting tomorrow.”)This is why you need to trade something of value for your dream client’s time. You must make it worth their while to talk about the things that are—or should be—casting them to change. This is something you need to do “even if there isn’t a next step” and even if “we never do business together.” To go fast, you need to go slow. The Commitment of Time and the Commitment to Explore need to be nothing more than that, if you want to make these commitments easier to gain—and if you really want to help your dream client.
Yes, we made mistakes: Kejriwal after Delhi MCD poll loss Former Uttar Pradesh Chief Minister Akhilesh Yadav on Saturday again questioned the credibility of electronic voting machines (EVMs) after the state police found a chip-like device used in stealing petrol.“When petrol can be stolen with the help of a remote through a chip without any internet connection then EVMs too. Need to stop the wrong use of technology,” the Samajwadi Party president tweeted.Mr. Yadav’s remarks came two days after the Special Task Force (STF) in Lucknow raided several petrol pumps and found them using a chip board like device inside the dispensing machines for petrol theft. Also Read The chorus against EVMs has gained momentum after the recently held assembly elections in five states, with Arvind Kejriwal’s Aam Aadmi Party (AAP) and Mayawati’s Bahujan Samaj Party (BSP) spearheading a campaign on the issue.The Election Commission, however, has said the machines can’t be tampered with.On April 15, Mr. Yadav also demanded an answer from the EC over the controversy on tampering of EVMs.
Hitting out at the Manohar Lal Khattar government in Haryana over the spate of rape and murder incidents, the Congress on Saturday demanded that President’s rule be enforced in the State. The party also asked Prime Minister Narendra Modi to address the issue in his “Mann Ki Baat”. Mr. Modi needs to make it clear whether “Beti Padhao, Beti Bachao” is another “jumla,” said All India Mahila Congress president Sushmita Dev. “The law and order in Haryana is in a dismal state. It is indeed looking like the rape capital of the country. What is shocking is the attitude of Chief Minister Manohar Lal Khattar and the Addl. DGP RC Misra. The Chief Minister is focussed on making political statements instead of acting against the crime,” Ms. Dev said. A delegation of the Congress party including Ms. Dev, Kumari Selja, MP, and Kiran Choudhary, legislator, met the Governor on January 17 demanding that other than one-time payment of compensation, a member of the victim’s family should also be given a permanent government job. “In the Kurushetra gang rape case, it was a bright young girl who had died. She was someone who had scored 95% in school. The parents were hoping that she would grow up to be a professional. Can one-time payment of ₹4 lakh as compensation suffice,” Ms. Dev asked. Demanding President’s rule, it said: “In the last three years, thrice DGPs have been changed. It reflects that the police administration is not in their control. We demand that the CM should resign with immediate effect and if he dithers he should be sacked and President’s rule should be implemented,” Ms. Selja said. The Congress said since “Mr. Khattar himself handles the Home department he can’t escape the responsibility”. “Tomorrow when the PM will hold Mann Ki Baat, I hope he will speak about the steps he has taken for women safety and clarify if beti padhao, beti bachao is just a jumla,” Ms Dev said.
The Allahabad High Court while granting bail to doctor Kafeel Ahmad Khan, has said that there was “no material on record, which may establish medical negligence against” him individually in connection with the death of infants in a Gorakhpur hospital last August.Significantly, the court also takes on record the Yogi Adityanath government’s submission that the deaths did not take place due to the shortage of oxygen.Citing insufficient evidence, the court granted bail to the doctor on Wednesday. “The Court must also bear in mind that the State in its affidavit and more particularly in paragraph 16 thereof does not attribute the deaths to a shortage of medical oxygen,” Justice Yashwant Sinha said in the order on Wednesday but made available only on Thursday.Mr. Khan has been languishing in jail in connection with the BRD hospital incident since September.The court said that the state government in its affidavit also “does not refer to any evidence which may establish or even tend to indicate that the applicant has tried to influence witnesses or to tamper with the evidence.”In another significant point, Justice Verma said Mr. Khan was also “not stated to be part of the tendering process that resulted in the enlistment of the entity, which was charged with the supply of medical oxygen.”Manish Bhandari, the main supplier of medical oxygen to the BRD hospital in Gorakhpur, has already been granted bail by the Supreme Court in the same case, the HC pointed out in favour of Mr. Khan.Mr. Khan faces charges under attempt to commit culpable homicide, criminal breach of trust and criminal conspiracy, which fall under Sections 308, 409 and 120 B of the Indian Penal Code, respectively. The additional charges of corruption and private practice have already been dropped during investigation for lack of evidence, something which the court too noted in its order.
The Supreme Court on Thursday ordered the West Bengal State Election Commission (SEC) not to declare without its permission the results of the panchayat polls, where the ruling Trinamool Congress has won 34% or over 16,000 seats uncontested.A Bench headed by Chief Justice Dipak Misra and comprising Justices A.M. Khanwilkar and D.Y. Chandrachud said, “The petitioners [SEC] shall not notify the results in respect of the constituencies where there has been no contest, without the leave of this court.”The top court, however, asked the State poll panel to go ahead with the local body election as scheduled on May 14 in the remaining seats. “The election process in respect of the constituencies shall be completed in all aspects and the results can be notified as per law,” the Bench said.Concept of purityThe SEC and its functionaries would see to it that the election was held in “absolute fairness, keeping in view the concept of purity of an election in a democracy,” the Bench remarked.It further stayed an order of the Calcutta High Court asking the SEC to accept nomination papers for the panchayat polls filed by the contesting candidates through e-mail.On May 8, the High Court directed the SEC to accept the nominations of all candidates who had submitted their candidature electronically on a plea by the Communist Party of India (Marxist). Both the CPI(M) and the BJP filed caveat before the Supreme Court, seeking to be heard before any order is passed on the issue.Senior advocate Rakesh Dwivedi, representing the SEC, opposed the High Court order saying as per rules the returning officers are required to scrutinise the nomination papers after the candidates file the documents before them.Senior advocate P.S. Patwalia, appearing for the BJP, contended that about 34% of the total panchayat seats have been won unopposed by candidates of one party.The CPI(M) claimed that many of its candidates were prevented from filing nominations and hence sent their documents to the SEC through e-mail.The Bench posted the case to July 3.