Video production projects have sets of requirements, unique features and needs, all of which the camera crew and production team work to fulfill with talent in their various roles. We offer the Definitions and FAQ below to assist in clarifying these details.
FAQ
MTI normally works on either a full day, which is 10 hours portal to portal, or there are times we work a half-day on a single camera shoot, which is 5 hours portal to portal.
Travel within the Beltway mileage is not charged. If travel is outside the Beltway, then the IRS rate of $.56 per mile is charged.
MTI carries workman’s compensation insurance for all its workers on the job. In addition, MTI has a general liability policy.
All the MTI workers are vaccinated. We understand that there will be some clients who are not vaccinated for a variety of reasons. We will follow all procedures on site to maintain a safe production.
MTI can turn around a bid very quickly. It all depends on the amount of information we receive about the job. We have turned around quotes for multi cam jobs in 1 hour. Other jobs can take 24 hours, or if there is a lot of information going back and forth about the job and the bid is more complex, it can take several days.
Normal payment terms are net 30. We accept payment by check, Pay Pal, Cash App and Venmo. We do accept credit card payments but ask that 3% be added to cover the business cost of the transaction.
It really depends on the nature of the job. For example, if B-roll is needed it would just be a cameraman. If interviews are required, an audio engineer is helpful. If the client needs someone to ask questions or supervise the shoot, then MTI would supply a Field Producer/Director. For a Virtual Event/Webcast, a Director/TD/Encoding Tech is mandatory. Due to budget, most often one person does three jobs. Other positions may include, gaffer, grip, or make up, as needed.
MTI is happy to supply the client with all raw footage if needed. If the client supplies a drive, we will transfer the material free of charge.
MTI is known for the ability to work on last minute jobs. If we have the proper information, the work can be covered.
Normally there are no charges for any inquiries about a potential job. If a request is made for an estimate, that is free of charge. That would also include a site survey. Once we are hired, then the normal billing applies.
It depends on the project, if it’s a one-day shoot, the bill is sent out after the completion of a job and as noted above is net 30. If it is a larger job or new client, then a deposit may be required.
Most of MTI’s work is in Washington DC, Maryland, and Virginia. However, we have provided services for clients all over the country. For example, there are times when MTI will send out one key person, who will then assemble hired local crew members – this arrangement can help to keep budget costs in line with goals.
Yes, Metro Teleproductions Inc (MTI) has the ability to simultaneously stream to Facebook, YouTube, Vimeo, and Twittter as well as create a white-labeled stream that can be embedded on your website. Whenever possible we aim for redundancy to give your audience the choice and for backup purposes in case of failure.
Yes, all of these platforms can be placed on a website.
Yes, depending on which platform you choose.
Analytics can vary, depending on the platform. Some offer the number of views, others get more granular, such as how long they have watched.
Yes, we can display them a multitude of ways. We can create a template where both the slides and the speaker are viewed side-by-side, or view the slides full screen or picture in picture, or any combination thereof. We recommend practicing standard PowerPoint etiquette, avoiding tiny text or very crowded slides.
Yes, we can. It’s important to get us the video ahead of time, if possible. Audio levels can be different from video clip to video clip and they have to be synched up with the level of the actual webcast.
Yes, MTI routinely archives all events that it produces. An MP4 of the event can be sent thru the cloud or the full resolution video can be transferred on site.
Graphics can be switched into the live stream, including a title slate, lower thirds, a “Please Stand By” slate, etc.
Its important in the pre-planning stages to know which of these platforms need to be incorporated into the live event. It is recommended that some type of testing is done prior to the event to make sure everything goes smoothly.
A remote presenter can be incorporated in a variety of ways – Zoom, Google Meet, Microsoft, StreamYard, VMix, etc. The best option depends on what you want out of your event in terms of branding, PowerPoints, video, audience participation and Q&A.
Many options are available. The video can be posted and accessible on Facebook, YouTube, or the client website. Other options to consider include establishing a Vimeo account where videos can be stored and links generated.
MTI works with all different types time deadlines. For example, with Under Armour, we shot a guided tour of the facility, and edited overnight for presentation on a live webcast. For another corporate client we covered a conference and edited it overnight, so it was shown on the final day of a conference. For other videos it can range anywhere from three days or more. Meeting your deadline will depend on how complicated the video is, how quickly a sign off on the final script can be obtained, time to include possible voiceover talent, and final editing time.
Not every project requires animation. The short answer is that budget plays a key role in deciding whether you can utilize animations in a video. Animating a logo can be relatively simple. It’s when you get into full scale animations that the budget can grow quickly.
Music rights fees can be tricky. MTI has access to library music which will improve the final video. If you are using the video at a presentation that is not streamed, the answer is yes you can use whatever you want; however, if you are posting your video on YouTube or other social media, the answer is no.
MTI uses a variety of narrator types. A narrator can cost $500 and up depending on their credentials. A professional narration will enhance your final product. We normally work hand in hand with the client to find the best narrator for the project.
Not necessarily. Sometimes soundbites from company owners or representatives can be helpful to convince prospective clients, but your voice can be used without the need for your going on camera, or you can be on camera for five seconds to identify yourself and then the voice over can continue as other visuals are presented.
We work with all different types of clients, Fortune 500, non-profits, associations, small companies, and individuals.
The cost is determined by many different factors, including days of shooting, locations, script writing, graphics and animation, voice overs and days of editing.
It can help publicize your company, add dimension to your website and bring your content to life. Many searchers and website visitors have an expectation that video will be available to view, either on social media or on a website.
Definitions
A Hair and Makeup Artist is responsible for making sure that whoever is being recorded on site is looking their best. For each video production project, the end client will look into a monitor and sign off on the styling prior to any recording.
The Gaffer is responsible for working with the lead videographer, setting up lighting for a video production project. This involves a team effort in decision making and selecting which lights to use in various locations. A Gaffer will also work with the lead videographer on selecting any supporting equipment.
The Teleprompter Operator is responsible for receiving script from the client and inputting it into a prompter used during a video production project. Once the reader begins, the Teleprompter Operator follows the person reading so the speaker appears to be natural.
Microphones for the most part are uni- and omni-directional. Uni-directional microphones pick up sound directly in front of where pointed, while omni-directional microphones pick up sounds from all directions.
Wireless microphones can be challenging in the digital marketing and video marketplace because there are so many used by a variety of groups, i.e. government, police, fire etc. The Audio Engineer needs to be able to tune the wireless microphone to the location where they are transmitting.
A hard-wired mic for webcasting events, such as the Shure system, gives the audio engineer top flight reliability.
Audio is utilized in a variety of ways on a video production shoot. For example, on corporate, Fortune 500, non-profit and association live events, a good digital audio board is needed.
In the digital media and video marketplace, the Behringer x32 has become a popular choice, because it allows the Audio Mixer an extremely flexible board while maintaining an intuitive layout which can be taught to other operators quickly.
The Behringer x32 has 8 channels of auto mix. It is extremely useful for panels and live broadcasts and it is compatible with a number of digital stage boxes. This is an important factor for events with a large attendance, as it lessens the amount of cable runs.
Lighting instrument selection is an important aspect of video production planning.
Lighting has changed in the last two years from HMI and Tungsten to Bii Color LED’s such as the Apertures. Technology has enabled LEDs to advance to the same strength that Tungsten’s used to be, and these new lighting instruments accept a wide range of light modifiers.
With the lighting modifiers, you can make the LEDs both soft or bright, such as bright for outdoor sites and soft for indoor locations.
With the proper lighting accessories, you can shoot interviews without shadows.
When selecting the cameras for a video production project, the ability to use different lenses can be vital. As an example, if you were to use B roll lenses, they are fixed lenses, so wouldn’t be able to use a 22x, or a wide angle lens.
Because lens selection is so important, people have gone to the large sensor interchangeable lenses of cameras such the Sony FS7M II or FX9, or the FX6 because it gives them flexibility in the field.
Modern cameras shoot 4K because it gives the editors more flexibility in post production, i.e. resizing, framing, or zooming in for a closeup.
Smaller cameras are used for quick shoots, where quick maneuvering is necessary, i.e. in crowded situations, B roll at a conference, or demonstrations. Its important to note that smaller cameras such as the Panasonic AGDVX200 and the Sony Z 280 can work for webcasting live events.
A Production Assistant is a jack of all trades. Their role on the video production team may shift from transporting equipment to moving lights, or helping set audio and assisting the Field Producer or the client.
In video production, a Grip is a utility production individual, generally handling the equipment. On any field shoot, a Grip works as needed, such as in helping the Videographer with lighting and electrical needs.
A DIT/Media Manager (Digital Imaging Technician) is responsible for transferring all footage from the shoot. Software such as Shotput can be used to ensure that all the material is transferred to the drive. Depending on the schedule, the DIT will try to perform this work as the shoot is ongoing.
A Field Producer is your fixer on site and is either working with a remote client or a client on location. Before the shoot starts, they are a logistics person, to find out where the crew can load in, and what challenges are possible for the video production project, because each job is unique. The Field Producer serves as an interviewer, they approve the framing of the shot, and they also interact with the videographer and the audio engineer.
The Audio Engineering Technician is responsible for all sound on the job, from making sure the recording is clean and clear, to micing all interview subjects, whether using a boom or lavalier microphones. They normally bring a field mixer, lavs, boom mic and wireless to the project location. Sometimes the Audio Tech records an audio file separately for transcription. If it is a multi-camera, sending audio to all cameras. In some video production projects, there may be more than one Audio Engineer, depending on the complexity and requirements.
The Streaming Director is responsible for all aspects of livestreaming or webcasting on site. Prior to the project, the Streaming Director is given specifications, i.e.. where they are streaming to (YouTube, Facebook, Vimeo, or private label). The Streaming Director is also responsible for a test on the location prior to the start of the event. They serve as a Technical Director and switch cameras, put in slides, and video roll, as well as add lower third title for all key personnel speaking.
The videographer is responsible for recording the material on location, making sure that the format is correct. Formats may include 4k, 1080p, 1080I, NTSC, pal, and log/raw. Videographers work directly with the client on the desired appearance of any interviews, and the shot selection for b roll. Videographers are the creative lead for the “lighting look” on site. The videographer will ask the client if there is a style that they wish to emulate.