The Reluctant Release: When They Don’t Want to Sign the Release Form

Release forms. No one likes them. But you need them. You need releases for people, places and for materials. A lot has been written about this subject, so I won’t go into it here.

What do you do when someone doesn’t want to sign one? I recently had this happen with a couple locations for my documentary project. Here’s how I tried to work through the problems.

Be Patient.

My first reaction was not patient, or helpful. Didn’t these people know I needed this? What was their problem? I’m nerdy enough that I almost always get a small shot of adrenaline when I get a form returned, or an email about a form. Weird, right? So, inevitably when I’m first reading it, I’m not calm and cool.

And of course the real issue is: what is their problem? Why would they say no? In my case the locations didn’t say no, outright. Both offered ways to get permission, but neither were acceptable. As I reviewed both, it became clear that one location simply didn’t completely understand what was being asked of them. The other was, as I would find out, going to be rigid and over reaching in their requests. Let’s look at the first location.

Try to get to the core issue. Get the facts. Why don’t they want to sign the release?

Be Clear.

I realized that the initial request had not been very clear. It had been handled through a 3rd party, so I was able to get into contact with the location myself and start to work through the issues.

I explained what the project was. I showed them what gear I would be bringing (a single mirrorless camera, not a full crew). I talked about risk, the fact that I would be attending the event anyway. We talked about the fact that the event was the subject of the film, not the location. The camera I would bring is the same as I would bring if I were a parent. There was no additional risk to the location.

Be Persuasive.

Once I convinced them that my presence would not be a major risk, I began to ease their other concerns.

It became clear that the location was concerned about being shown in a negative light. I’m not sure if they had a bad experience before, but I worked to put their mind at ease. I told them about the film, and why it was important. I sold them on what I was doing, on the purpose of the project. I reassured them that the location was just background for the film.

At one point the location said they didn’t have the power to give me permission to shoot because they were just the venue. I explained that while I had permission from the event and the people involved, because it was private property, I needed permission to shoot there. They asked to get written permission from the event organizers, which I provided.

Be Flexible. (Where you can.)

The location asked me to change a few things in the location release. None of them were important. I felt they were overkill, but I could easily put them into the document if it made them feel better.

I specifically limited the number of people in my crew to one. I specifically mentioned I would not hold them liable for physical injury to myself. (This was in addition to existing language already related to liability). They asked to only be shown in a positive light, but I agreed to not show the location in a negative light. I could do that because the location isn’t the focus on the film. I would be surprised if anyone could even identify it by the footage. The location is a neutral part of the film, just a venue.

It’s not always possible to meet every demand or request. Don’t give up more than you should. Don’t agree to things that might compromise your film, your finances, or put you in a legal bind.

Be Persistent.

After I made the changes, the location representative said he would sign the release. And then went silent for 2 weeks. The shoot date was rapidly approaching. I had an email saying they agreed to the release, but no signed release and no plan to obtain one.

I waited a few days and sent a email with a countersigned copy of the release. All they had to do was print and sign it. I suggested I could just get it from the office when I arrived. Whatever I could do to make it easy for them. About a week out from the event I sent another email, asking if they had seen the previous one and including the release again.

2 days before the event I called them. I left a voicemail. I thanked them for agreeing to sign the release, and suggested I could just swing by the office and pick up a signed copy since I would be there already.

1 day before the event I got an email saying the document would be waiting for me at the office. I had started a month and a half before the shoot date trying to get permission. It had taken almost 6 weeks to get this done. But I needed this location.

Be Creative.

While I was in limbo about permission, I started working on Plan B. Hope for the best, prepare for the worst.

If the worst happened, I could go to the public street and shoot an establishing shot of the location. I could do interviews off site. I could fill in with B Roll from other locations. The only thing needed from that location that I couldn’t get without permission would be some recording from the award ceremony. My plan was to audio record it and then seek permission after the fact to use it. If I was not able to get permission, I would use voiceover to describe the events.

That would not be ideal, but it would be better than nothing.

If you cannot get permission, what can you get? Can you get a different person, different location, use a different audio element? What else can you do to communicate the same thing? We already know you’re creative or you wouldn’t be making a film. So be creative and work it out.

Which brings me to the other location.

This one I did contact directly. But they sent back my release and had altered about 80% of it. Most of the changes were things I was already doing, so it didn’t matter. But 2 parts were not OK. We went back and forth a bit, and it became clear that at least of of the points would not be something we could agree on. They would not bend and neither would I.

So now what?

Same scenario as before. Be creative. I was only looking for a few shots of awards, and to interview a few people who were going to attend. So I began to find other options.

My film isn’t about a particular event at a location. There are multiple events throughout the year. My film is the story of these kids going through the season. So, not being able to shoot at one location was not the end of the film, or necessarily a big deal. I would have liked to shoot there, to use footage I captured there. It would have made things easier. But I went to work on doing what I could while I was in town.

I contacted several other locations near the tournament, looking for a space to shoot interviews. There were some folks I was hoping to talk with who were available at this location, so I needed a place. In the end it was a contact made through someone I knew that opened the doors. Building relationships is important. I would be able to shoot my interviews in a location near the tournament, but out of the elements and in a relatively quiet space.

I also shot interviews with students before and after the tournament. This won’t be the only tournament that wasn’t represented in the film. I only attended 5 others this year. The difference is that I was at this one and could have shot video. Even though this wasn’t ideal, it also wasn’t a deal breaker. I made the most of the situation and pressed on.

Every project will have set backs. Every creative work will have hurdles, roadblocks, detours. The difference between finishing a production and giving up is how you handle the issues as they come up.

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Peculiar – Digital Access Soon to be Available on Christian Cinema

B&W Peculiar Logo.jpg
The changes in SVOD platforms have made me take a long look at where the series has been available, and where the people who would most want to see it are consuming content.

I believe that even though the series is aging, the best outlet is Christian Cinema.

Assuming all goes as planned, all 10 episodes of Peculiar will be available on ChristianCinema.com through the Transactional Video On Demand (TVOD) platform. You’ll be able to purchase episodes or the entire series, and view it on your computer, TV or digital device.

At the end of February, Peculiar will no longer be available on Amazon Prime Video. And it’s already been removed from Youtube.

Check out the newly-cut-for-2018 series trailer for Peculiar:

It’s my hope that making this content (which was made for a Christian audiences) available to people who are looking for Christian content, more people will see it. Instead of just throwing it out into the world through any outlet possible, this more targeted release will put the show in front of more people who might actually want to watch it.

Peculiar Behind a Paywall?

I’ve been writing about changes to Youtube and Amazon Video Direct. Two major outlet for indie filmmakers have changed… for the worse. I still have no idea how this will all shake out for these outlets or indie filmmakers.

Amazon’s announcement of royalty cuts really frustrated me. You see, my series, Peculiar, was on both Youtube and Amazon Video. It’s an odd thing to have Christian content on secular outlets. On Amazon, every Christian who reviewed my show gave it 5 stars. Every non Christian reviewer gave it 1 star. It’s written for Christian audiences.

img_2597 Right after the first 6 episodes were completed I landed a traditional distribution deal. I created a DVD, complete with a a set of Bible studies. For a brief time the DVD was available in actual brick and mortar stores. And through Christian Book Distributors and Amazon.com, and a few others. Then my distributor lost his access to the brick and mortars. And he was not interested moving the series to digital. I wrote about the success and lack of success before. I still have a few DVDs… contact me if you’re interested.

We agreed to part ways, and I looked for ways to get the show in front of people. Initially, that was through Youtube. This wasn’t the first time full episodes had been available online. I knew I could get the series up, and make it available.

So the show went from traditional DVD distribution to digital availability via ad-based delivery, and then Subscription Video on Demand (SVOD) through Amazon Prime. It’s never been offered through a Transactional VOD service.

And it’s never been offered to specifically Christian audiences digitally.

So, I essentially skipped an entire distribution window. That’s understandable, self distribution was relatively new through TVOD and SVOD, and I just wanted the show out there.

Here I am with an aging, micro-budget series. The show has always been generally well received by its target audience. But the retail offerings have been very limited.

I’m seriously considering moving Peculiar to TVOD through Christian Cinema. It’s obviously the right outlet for the audience. But that means every episode goes behind a paywall. No more free viewing. (Except on the broadcast outlets STILL showing it…)

I do like seeing the series available on Amazon Prime. But I don’t think a lot of people are seeing it. Less than 1000 minutes streamed over the past 12 weeks. There was even less time viewed when it was on Youtube.

An outlet like Christian Cinema offer a niche market, for the right products. Amazon Prime has over 20,000 titles available while Christian Cinema has about 4,000. Sure, Christian Cinema has just 250,000 monthly users, but they are 250,000 users that are looking for Christian content and I’m trying to get noticed in a much smaller pool of content.

Specifically, there are currently only a few hundred comedies available through Christian Cinema. Many of them are stand up shows. The only comedy TV series available is The Statler Brothers TV Show, and that’s a DVD- not a digital offering.

Let’s do a reality check. Peculiar is micro-budget, and has all the issues that you find with that level of production. It’s old, with no new episodes since 2013. And it’s had a chance at Christian retail and failed.

My desire for the show has always been for more people to see it. If offering it through TVOD on a Christian outlet will help that to happen, maybe that’s what I should do. Not a lot of people are seeing it through Amazon.

It’s Not Me, It’s You…Tube

Youtube is breaking up with me. But it’s not me, it’s You…tube.

Last week Youtube changed the requirements of partner channels, effectively killing their partner relationships with all casual creators. This is my somewhat tongue-and-cheek commentary on the subject.

Ok, that’s a bit satirically-sappy, but there are a couple of things that are serious.

Youtube was built by smaller channels. The vast majority of the 300 HOURS of content uploaded every minute is uploaded to small channels. Without those channels, Youtube wouldn’t be the 2nd largest search engine in the world.

Any channel, of any size, can upload content that helps or entertains others. Youtube should not ignore that. Partner status isn’t about getting money as much as it’s about Youtube recognizing that your channel contributes in a positive way to the community. We are literally partners. Casual creators can and have helped Youtube as a business and platform. This move signals a lack of appreciation and respect for those channels.

That’s the big deal. I saw a few videos of people talking about how people shouldn’t be upset because the money they are losing is very small. They’ve missed the point entirely.

I always looked being a Youtube Partner as being in an actual partnership. I contributed to that relationship in some small part, and Youtube appreciated that relationship. So they shared a little of what I helped them earn. Not because it was a big payout, but because we were partners.

I felt a certain amount of loyalty to the platform. We were partners. I was a part of making it successful. They appreciated my videos, and I felt like I was helping people. And helping Youtube sell ads. My content was helping make Youtube a place where people could search for answers, or entertainment.

Turns out, Youtube just doesn’t care about channels like mine. I didn’t change, Youtube did. Youtube doesn’t care about the very channels that help make up the massive amount of content that is searched and served billions of times.

YouTube Drops the Hammer on Casual Creators

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Got an email from Youtube today saying they are raising the bar on monetized channels. New minimum levels are 1000 subscribers and 4000 hours watched in a 12 month period. Pretty low overall… but it’s a hurdle for new/casual creators.

I have (had) 2 channels that are (were) monetized. One was for my show from a few years ago. It saw decent traffic when it was active, but no new content has been posted in years. I was just leaving the episodes online so people could find them. Most people see them on Amazon Prime, not Youtube. That channel is losing monetization. it will never reach the new bar for views or subscribers.

My other channel is more active, but I’m not sure I’m seeing 4000 hours of viewing annually. I’ve got several thousand views on some videos. I do not have 1000 subscribers. So, that channel will be de monetized soon, I’m sure.

This move really hits casual creators. I’m never doing a daily Vlog. I’m busy, and only post occasionally. I have chosen YT as the outlet for that because it is the 2nd largest search engine in the world and every month my stupid, little videos give me a very small amount of money. (Think fast food lunch, or afternoon Coke.) But hey, free money. And maybe someone can use the content, or is entertained.

So I put up with the overzealous content ID system, and the trolls and the ugly interface and the compression.

Youtube says that 99% of the channels affected by the new changes made less than $100 last year. They make it clear that their priority is for channels making a living off Youtube. Casual creators like myself are not considered.

I get why, to some extent. Youtube wants good, new, and consistent content to keep people coming back. more people means more advertisers. And after some advertisers to mad about being sown on some weird/bad videos, they have been working to protect that ad revenue. I can see why they would want more growing channels with larger audiences, and less small channels.

I don’t have consistent content I post every week, but a few videos on my channel have been really helpful to viewers. A few simple tech tips about how to use old lenses on modern cameras, and testing video gear, etc., have really helped some viewers. Or so they say in my comments. Youtube is removing the incentive to make any more of these. Or at least, the incentive to post them on Youtube… (Vimeo anyone?)

I wonder how this move will affect the ecosystem. Less casual creators, more intentional channels. Could be good, but will it, overall, lower the volume of video uploaded? Will that make it easier to have content noticed? What will be the fallout, if any?

Personally, what stops me from switching to Vimeo? Is the search function on YT worth it? I’m not sure. Let’s see how things progress.

The Quality Ramp

rampHave you ever watched something you did several years ago and cringed at how bad it was?

I had this experience recently. When the pilot episode of my show became available on Amazon Prime, I watched it with my family. Ug. That was hard to do.

It wasn’t the worst video I’d ever seen. I mean, the story was basically solid. The core structure worked OK. But the lines, it’s obvious this was one of my first scripts. I kept having the actors tell the plot instead of show the plot. (Really, this is a problem in many of the episodes of the series…)

We didn’t know what we were doing. Production quality was subpar. I mean, I knew how to run a camera, but I’d never shot a dramatic scene. I’d read a book, so I knew to get coverage with a master, some over the shoulders and close ups. We had some decent (for the time) equipment, but not nearly enough lighting tools. I think we had about 3 lights, with varying color temps. We had a Sennheiser 816 shotgun, a really long microphone, and a couple of lav mics. Many times the shotgun was just too far away from the source, capturing quiet dialogue and loud room noise. I spent way too much time in post trying to fix it. And of course, it didn’t get fixed. And many of our actors were first timers. Or they had stage experience with no film experience. In post, I was in love with every line. I don’t think I cut any of them.

There were so many ways it could have been better. But the end result was still a decent story that set up a 10 episode series. A series that won awards, not because it was amazing, but because there weren’t many people even trying to do anything like it back then. A series that dealt with real issues facing Christians today. Something, that even now-3 years later- is still being seen.

I knew even back then that the quality wasn’t very good. I almost didn’t release it. I actually went and watched the first attempts of other filmmakers, and compared my work to theirs. I realized two things:

1, Everyone has room for improvement, and some successful filmmakers started out as bad as I was.

2, If you wait until you’re an expert to do anything, you’ll never do anything. You have to start where you are, and work to improve.

It’s the 2nd point that’s the most important.

How did a volunteer cast and crew spend under $9000 to produce an award winning 10 episode series that was shown on 4 different networks (JCTV, NRB, Parables, The Walk), tons of different local channels, satellite around the world, translated into another language in Romania, is still available on the internet and now a VOD streaming platform? We didn’t know we couldn’t.

I know people who are smart, talented and have an amazing idea just waiting to be produced. And that idea just keeps waiting. But part of the point of independent film is the freedom to try to make your idea. You don’t have to wait for a big studio to come by. And if you are a filmmaker who has never made a film, then you’re caught in a Catch 22- You won’t make your film because you want it to be good, but no studio will help you make your film because you’ve never made a good one.

For Christian TV producers, there is no hope (at this point) of ever getting the funding to make your episodic, dramatic show from one of the religious networks. Thats not how the model works. They exist because content creators (namely preaching/teaching/talk shows) buy time from them. They do not pay to have programs produced, and they normally do not pay for existing programs. There are exceptions, but generally this is the rule. So the chance of getting your grand episodic idea funded through a big Christians network is just about zero. You can get your show on the air for free, but even if they give you any money, it won’t be enough to cover the cost of production.
If you want to see your idea become reality, you are going to have to do it. You’re at the bottom, and you have to start moving forward to move up in quality.

That means starting with your script idea and writing it, even if it is horrible. And then keep writing and writing, and creating and creating. Read, learn, study. Get better. improve. Shoot short films. Do projects. Create, and try and keep trying. and keep improving. One day you’ll look back and go, wow, those first things I did were awful. But if you never did your terrible projects, you wouldn’t be able to do your better ones now.

Everyone starts at the bottom of the quality ramp, and if you want to get better you have to keep moving forward.

Releasing Your Episodic Content on Amazon Video/ Amazon Prime

IMG_7243My low budget Christian sitcom Peculiar is now available on Amazon Video! (also my short film BRKN, if you’re interested.)

Since the first episodes started broadcasting in late 2012, I have wanted to see the show available on a major streaming service. Until recently the best (only?) route was to hire an aggregator to try to place your content in iTunes, Netflix, Hulu, Amazon, and anywhere else with a VOD distribution pipeline. Most of those were several hundred dollars up front, no promises. A few would try to place your content for a percentage of what you might make off views/sales.

I’ve never tried to cash in on Peculiar. It wasn’t a huge financial success. Not only did I not have several hundred dollars to spend on this, I didn’t expect to make back any investment that large.  But I do want this series to be available to as many people as possible. After my amicable split with my traditional distributor, I contacted one of the percentage based aggregators. He replied honestly, and not surprisingly, that he felt he could place my show on Amazon, but nowhere else. But I would need to rework the closed caption files. At that time, costs of captioning was a huge hurdle.  I did find a way to get the content onto Amazon Video myself. But, the files would be Standard Definition, not HD. and I could not submit episodic content. I actually questioned an Amazon Create Space representative pretty hard about why this was the case. I never received a satisfactory answer. Any episode I uploaded to Amazon would be low resolution and would stand alone. The only way to get Amazon to group all of the episodes from your series together was to use an aggregator. So I tabled the idea.

Enter Amazon Video Direct. (AVD)

In May of 2016 Amazon announced it’s new service.  Open “to any video creator, the e-commerce giant will compete head-to-head with Google’s YouTube for video-ad dollars and views as well as other big Internet video distributors like Facebook and Vimeo.”  What that boils down to is a way for independent content creators to upload their video creations to Amazon and make them available through the streaming site. You can upload any short, feature, series, documentary… anything, and make it available to Amazon’s streaming audience. The company shares revenue for purchases and pays similar to Youtube for free Prime streaming. You could even set up a subscription service through AVD, but I don’t know much about that.

So, how do you use it?

  1. Got Content? First, of course you need content that you have permission to, or own the rights to distribute in this manner. I don’t yet know how content ID is going to work, but you can bet that like Youtube, computers will be scanning this library to find copyright violations.

  2. Set up your account. You will need to add your bank and tax information before you can publish your content.

  3. Prep your content. AVD supports Pro Res 422, MPEG-2, and h.264 (in certain wrappers. h.264 in a QT .mov wrapper is not supported.). I uploaded my files in a Quicktime Pro Res 422 file. These files are huge. But they are also pretty much lossless, when compared to the MPEG2 or h.264 formats. Plus I had my series stored in this format. But upload speed is critical. Try to find a commercial connection you can use. It would take me days to upload just one file if I tried to do this at home. If you have 5.1 surround audio, then you will need to use either the MPEG 2 or h.264 file format.

  4. Prep Your captions. You must have closed captioning. Period. The end. Luckily, there are quite a few ways to get captions for your content. You can pay, but if you use Adobe Premiere CC, you can create them inside the editor. I already had .scc files from when my show was broadcast. But they were 608, roll up captions, and timed for a 28:30 show with 2:00 breaks. Adobe CC imported them like a champ, and allowed me to make edits as needed. I exported the 608 captions to a “sidecar” .scc file and we were good to go. AVD can take 608 or the much nicer 708 captions. Both can be created in Adobe CC. This is the single biggest hurdle for publishing videos on AVD. I gave up on a 708 caption file I created myself for a standalone short film, and I am still having issues with their process. I have only been able to get an .scc 608 caption file to work for content with a 29.97 fps, so far. Even 608 captions for 24p content with an .xml caption file have been rejected. [Update: In the end a 608.srt file worked with 24p content. In my experience 2 file types that Premiere can create that work with AVD: 30fps can use .scc 608, 24fps can use .srt 608.]

  5. Prep Your Graphics. Before you can publish your videos, you need a graphics package. This is what Amazon shows people when they look for your content. There are key graphics and a background graphic. Follow the image size requirements, and choose something that will catch the eye of your audience. I had a set of promotional images I’ve used for the show for years, so I adjusted them to fit these sizes. Episodic content requires both a 16×9 key image and a 4:3 Key image. (Standalone content requires 16×9 and a 3:4 image.)

  6. Upload. If you have a series, you don’t have to upload every file at the same time. You will need to have all the metadata filled in, cast and crew, graphics, etc… and then select the video files and captions, select the availability of the content. If you want to sell a season pass, you need at least 3 episodes uploaded. You can select when you want the content to be available, but I just chose as soon as possible.

  7. Publish. Once you think you have everything ready, hit Publish. If you forgot anything, you will have the chance to correct it. Then be prepared to wait. It takes Amazon a few days to look at your content and publish it. You will see small green circles for the areas the content will eventually be available. They should be half full and green. Once everything is approved and live, they will be all green. I published episodes over a period of time. My “circles” would still be half full, but episodes would already be available for viewing. Once every video file has been approved, then it will show completed. What if you want to change something? Then just go back into the dashboard of AVD, re upload the file, change the txt, etc… and hit save. Then wait several days again for the changes to take effect.

  8. Promote. Amazon has instructions on how to link to the streaming page for your content, and some “Watch on Amazon” graphics. And of course, you will want to let your existing audience know about this new outlet.

So far over 350 minutes of content have been watched. That will pay me… less than $1.00. But that’s OK, I’m not trying to get rich on Amazon, I want people to see the projects I’ve been a part of. If you can navigate the tricky caption requirement, making your content available on Amazon Video open it up to a whole new, pretty large, audience.

[Update: 8 months later, I consistently make 4-5 times more for views of the 12 videos I have on AVD vs the 60+ videos I have on Youtube. I’ve done nothing but make it available, no advertising, very little promotion.]

“No Excuses” Sermon Series: Quick Comedy

In late 2015 our creative team met with pastoral leadership to discuss upcoming sermon series for 2016. One of the ones that got me most excited was called “No Excuses.” In our creative time we planned to shoot 6 comedic videos that show cased excuses that Christians give when talking about why they don’t share their faith. They had to be short, and they had to be funny.

2016 turned into a very busy year for video production at the church. Including the weekly video announcements, 2 video creators were tasked with completing 36 video projects in just under 3 months. A difficult task no matter what sort of videos are required. A short film project is a whole extra level of complication. after meeting about the workload, and planning an aggressive production schedule, we decided to go ahead with the series as planned.

Here’s the series broken down by the numbers:

-6 two-minute short films used as sermon bumpers.

-2 couples with limited acting experience playing the characters.

-4 days of shooting on a very small budget: We bought a few props.

-2 weeks after the first day of shooting the first film was shown.

-9 weeks total for production and post for all six short films.

-12 other video projects completed during the same 9 weeks.

Obviously,  that’s an insane schedule, but I wanted very much to keep it. I felt that sing humor to broach the subject of reasons why people don’t share their faith was the right approach. And I just like filmmaking. It’s incredible that I can sometimes do it as a part of my job. The fact that we were able to complete these projects is largely due to a lot of pre production and planning. Nothing ever goes according to plan, but that work paid off, as it always does.

Watch the entire series below:

Excuses #1: The only people I know are Christians.

Excuses #2: I’m not qualified.

Excuse #3: I don’t want to push my faith on other people.

Excuse #4: People might make fun of me.

Excuses #5: I’m too busy.

Excuse #6: I’ve tried it before and it didn’t work.

Producing Videos in Another Language

I speak English. I know a few words in other languages, but not enough to say I speak them.

Recently we were in a series that highlighted several testimonies from people in our congregation that were living out the Gospel. One of those testimonies was from a Spanish language speaker.

Obviously, since I don’t speak fluent Spanish, this was a challenge. Here’s how we did it:

During the interview I had someone there to translate. He gave me a synopsis of the answers during the live interview, so I could follow up.

Later I sent a video cut of just the answers to him. He typed out a complete manuscript for each answer. I made paper edits to that manuscript. This saved time, and helped create content that I used for subtitles later.

Then he came into the edit bay and helped me make the actual cuts to the video. A few times he suggested slight changes which sounded better to his ears.

Then I took the manuscript and broke down the text into titles for the English viewers. And he reviewed these for timing.

It took a bit of extra work, but we were able to share a compelling testimony with our entire congregation, instead of just Spanish speakers.

Live Directing is a Team Sport

front1mepanelMany weekends I am I the director chair,  calling cameras during the weekend services at my church. Other times I’m in the TD spot, punching buttons as another director calls the shots.

I have to confess, I’m not sure what my direction always looks like. I know what I see in my mind. And I know if the members of the team executed the calls correctly. But I don’t always know what it looks like as it goes down. I hope it looks like what I imagined.

As you call cameras, you have 3 things in mind all the time: the shot you were just on, the shot you’re on now, and the shot you’re going to next. And sometimes you even have a fallback shot in mind. As soon as a camera comes free, you are calling the next direction to that operator, while you are waiting for the timing to go to the next shot after the camera you are currently on. It’s a continuous flow of past, present, and future imagery. If you have a good crew, they can help you out by getting shots you like without much direction. But even the best operators can’t read your mind. Much of directing is communicating complex instructions quickly, clearly, and succinctly.

Then there are the times that you get into the zone, and you know the song, and what your camera folks can do. And you can truly be immersed in the worship moment, as you are calling cameras. That’s when it’s fun! You have to find this place where you’re focused on executing the technical and artistic parts of the service and able to worship. That’s only possible if we are all doing our part.

So, there’s about a million things going on. I’m not always conscious of what the shots actually look like, I’m always conscious of what I want them to look like. You cannot direct and micromanage at the same time. You have to turn loose and trust that the team will execute the orders you give. Sometimes you might see a camera op get into focus trouble, or go shaky, and you have to clear off that shot faster than you plan. So you know when things don’t go as planned. But it’s not until I watch the program back that I know exactly what it looks like.

You must trust the team. It’s a creative process, and everyone involved has a part. if it looks good, it’s just as much the result of talented team members as it is competent direction.