Pre-production - Vimeo Blog

How to create a sanity-saving run of show

Julie Bergstein — Mon, 04 Apr 2022 22:31:00 +0000

Before any event goes live, it exists as a page full of line items called a run of show. If you’re planning an event, this one document covers your butt. But it’s not just an itinerary of talking points and production cues—although it is very much that—it’s a living document and what we like to call “the center of truth” for everyone involved.

At Vimeo, our events team has put together hundreds of runs of shows for in-person and virtual events, for audiences and participants ranging from a handful of people to thousands of attendees. All these events begin with a run of show.

What is a run of show?

A run of show is a minute-by-minute breakdown of an event, including outlining speakers and talking points. This document helps keep all production crew, speakers and other members involved aware of where they are and where they should be throughout the event. It keeps us all on the same page—literally!

Like a slowly developing Polaroid snapshot, it begins with an abstract outline of speakers and talking points, and over time, sharpens into a detailed picture of what the event is going to be, down to the minute. Because everyone involved is referencing this one document, it’s integral to making sure our events go off without a hitch.

On paper, this would look like a table with timestamps marking the start and end times of each speaker’s presentation as well as any audience breaks and Q&As, and a point-by-point discussion outline of what people will be talking about.

4 important things to include in your run of show:

Information and contact information for each panelist
The time duration of each topic discussion
A loose script of talking points
Links to any supporting documents or pre-recorded video

Remember: the larger the event, the more information to include on your run of show. If there are multiple types of segments, the sections might be color-coded for ease of access.

Individual keynotes or panel discussions within a longer virtual conference or webinar might have their own run of show, further breaking down talking points.

For events with more technical elements, your production team might have their own technical run of show, with detailed cues for individual camera and mic setups.

How to build a run of show

Don’t worry if it sounds complicated! At the end of the day it’s just a spreadsheet, built around your vision for the event. Here are four main things to focus on when building a run of show for virtual events.

1. Find a natural progression

A run of show is the on-paper version of the event, so it evolves with the event planning. Because content comes first and foremost for our virtual events—the first thing we do is brainstorm and sketch out the speakers and discussion outline.

We start the drafting process three to six months before the event itself, depending on the size of the event.

During this stage, take the time to think about flow, segment each keynote, panel discussion, or workshop into chunks of time, including 30 minutes at the beginning to gather speakers.

From there, we drill down three important questions:

Before starting, is there an intro-level topic to get people warmed up?
How long will each topic take?
For a longer event, when does it make sense to schedule a meal break, break-out rooms or an audience Q&A?

Pro tip: When it comes to composing the order of the discussion topics, think about what makes sense in the larger progression of the story you’re telling.

2. Gather and share information

We try to lock down the speakers and panelists 2-3 months before the event or even 3-6 months before for bigger keynote speakers. After speakers and topics are confirmed, we share the run of show document with everyone. Speakers can then make their own notes on the discussion outline based on their experience and insights.

We also like to share it with the production team to give them a sense of the flow of the event, and so they can start forming their own production run of show if needed.

Remember when we said that a run of show is the center of truth? Because everyone is working off this one piece of paper, it’s important to include links to any relevant information, including speaker contact information as well as links to pre-recorded video that’s scheduled to be played during the event.

3. Color code everything

At Vimeo, some of our events involve different types of media, multiple speakers, and complex production set-ups, which means everyone is referencing this one document. That’s a lot of information on one page!

That’s where color coding comes in. For example, in our run of show templates, we assign a different color for:

Intros and outros
Panel discussions and other live content
Pre-recorded videos
Miscellaneous content, like audience Q&As or a product walkthrough

For larger events, we’ll also include a key to clarify what each color means, as well as definitions for some of the session titles. Color coding helps ensure that people can find exactly what they’re looking for when it’s time to go live. It’s also useful for planning hybrid events so we can clearly communicate which segments are live and in-person, and which are virtual.

4. Adjust as you go

The minute-by-minute breakdown on paper can look very strict, especially when you’ve allocated just a handful of minutes to a specific topic discussion.

However, in real life scenarios, you might find that a speaker goes two or three minutes over time, or some other small hiccup occurs live. Don’t panic! It happens all the time. Just prepare to shave off a few minutes from the next segment, or cut time out of the Q&A, and make sure all the relevant people are updated.

At the end of the day, the run of show is a guideline. Despite your best efforts to stick to the time in the outline, it may change, and you just have to be flexible. The important part is keeping small solutions in your back pocket when the need arises.

How to use Vimeo Events to build a seamless run of show

Story board alongside your run of show

Within our Vimeo Events tool is a story boarding feature that lets you pre-plan scenes in your event, much like you would for a movie, show, or webinar presentation. When we have virtual events that incorporate a lot of pre-recorded content, we add scenes in the broadcaster to load up that pre-recorded content and arrange them in the right order well in advance of the event. It saves us a lot of pressure on the day of the event, because we’re not doing it all on the fly.

Gather your speakers backstage beforehand

Internally, the run of show start time isn’t the same as the one listed on the registration page for viewers. For example, if a panel discussion starts at 12pm, we like to make sure all of the panelists arrive at 11:30am. All speakers will know in advance because it’s clearly scheduled into the proceedings (usually as “BACKSTAGE TIME FOR PANELISTS”).

This half hour is crucial. It’s a critical moment to make sure speakers are present, prepared, aware of their time, and confident to go live. It’s also helpful to do a last review of the run of show with any moderators, who should have a clear sense of how to pace out their questions and discussion topics, and how long everything should take.

For our events, we use Vimeo Events’ backstage management feature to gather speakers before going live, test all technical elements, and go over the run of show to ensure a smooth, seamless event.

Maintain communication throughout the event

During the event, the run of show is locked, so we’ll use Vimeo Events’ internal speaker chat panel to communicate any real-time changes or updates individually to the moderators, panelists and production staff. This ensures that only the relevant people are caught up to speed, and everyone else can continue doing their own thing without unnecessary distractions.

A run of show looks different for every event, depending on the scale of the event and the discussion topics. Once you’ve built one or two, you’ll have a clear template to go off of for all future events. It’s just a matter of building a repeatable process or template, filling in the fields, and changing the minute marks of your schedule for each unique event.

By incorporating a run of show early into your event-planning process, you’re setting your team up for a fully aligned, seamless event.

Run your next event with Vimeo

Written by Julie Bergstein on December 10, 2021 and updated April 4, 2022.

Making a film? Here’s why you need a shot list (plus a free template!)

Mark Cersosimo — Thu, 30 Sep 2021 22:25:00 +0000

So, you’ve finished your future award-winning script and want to move onto the next step of pre-production. But, where do you start? By visualizing your masterpiece!

A combination of your script, storyboarding, and shot lists will propel your vision forward into the production phase of filming. This article provides a solid shot list base — as well as downloadable shot list templates in Excel, PDF, and even Google Sheets — to get you started.

What’s a shot list?

A shot list is a guide that lists (and describes) all of the shots that need to be filmed during production. There’s no one way to go about it and different productions will require different shot lists with varying degrees of intricacy.

Essentially, your shot list is a checklist filled with all the minute details that’ll give your film a sense of direction and efficiency. Leave no stone unturned.

Can I have a shot list template?

Yes, of course! Our shot list example is available in four different formats:

Shot List Example – Google Sheets

Complete with dropdown lists and auto-populating magic, we recommend using this as it’s the most robust and useful of the three versions. Go to File > Make A Copy to generate a version you can work off of.

Shot List Example – Excel

Simple, minimal and right to the point. This format is great for organizing your thoughts on a busy, multiple-location day. It’s not formatted for print compatibility so it’s best to use this on your phone or tablet.

Shot List Template – Microsoft Word

Ah, Word. Always a classic. No dropdown menus or auto-calculating numbers are available in this version. All criteria needs to be typed in manually. Formatting may differ across platforms and Word versions.

Shot List Template – PDF

Here’s a plain ole PDF shot list that you can print and write on. (Don’t worry — we miss analog sometimes too, especially in this Zoom-fatigued world of ours.)

So, now what? If you’re still with us, let’s dive a bit deeper into shot lists and learn ways to use them to your advantage.

A case for storyboarding

OK, we know you’re excited about the shot list templates. But, before you get going, it may be a good idea to draw up a storyboard. Storyboarding is a great way to visualize the major shots that move your story ahead. Use your storyboard as a springboard, and build your shot list around those anchor points. We get it, you’re no Walt Disney, but he’s not around anymore so surely you’re better than him at drawing now.

How to make a shot list

At Vimeo, we create a shot list for each shooting day, but you can also work off of one big list. Decide how you want to organize and go from there.

There are two parts to this process.

The first part is picking and designing your shots with your director of photography.
The second part is organizing (and scheduling) those shoots. The templates above allow you to accomplish both.

Pro tip: Keep in mind that typically you shoot out of order. Your shot list needs to be grouped by factors like location, lighting, or whether you’re indoor or outdoor.

Let’s say your actors are at a coffee shop in the beginning of your film, then they end up at a hospital, and at the end of the film they’re back in the coffee shop again (personally, I wouldn’t go back to a coffee shop that landed me in a hospital, but alas). You’ll want to shoot both coffee shop scenes at the same time. Keep those repeat locations in mind when you’re grouping your shots!

Essential video shot list terms from A-Z

Even if you decide you’re going to make your own shot list and not use our shot list template (no hard feelings), this glossary offers up 13 essentials to include in any shot list for any type of project.

1. Scene

Your scene number goes here. Simple!

2. Shot

Your shot is less simple but so important. Every angle is a different shot. If you’re filming a wide shot of two people talking in a coffee shop, that’s scene 1, shot A (1A). Next, is an over-the-shoulder shot of one of the people at the table, that’s 1B. Your next shot is a medium shot outside the coffee shop, that’s 2A. You advanced a scene and restarted your shot counter.

Pro tip: The letters “I” and “L” are often skipped due to their close resemblance to the number 1 (and to each other). Another pro tip: If, during your shoot, you add a shot that isn’t on your list, append it with a lowercase “i” (e.g. 2Ai). That indicates “insert shot” that wasn’t on your list.

3. Shot Type

There are lots of different shot types you can use. You can read more about shot types here. Above, I mentioned wide shot (WS), an over-the-shoulder (OTS) and medium shot (MS). In the Google Sheets template above, we included 11 different options.

4. Movement

During this shot, is the camera stationary, or does it move? If it moves, what type of movement?

5. Gear

This column is where you typically list your lenses (if you’re using a variety of different ones throughout your video), but feel free to include necessary gear for that specific shot.

6. Location

This is where the shot is specifically taking place. If you’re shooting in multiple areas of a coffee shop, get specific: “Coffee shop, corner table,” “Coffee shop, counter,” and so on.

7. EXT / INT

Is your shot an exterior or interior shot? Is it at day (AM) or night (PM)?

8. Sound

Are you rolling sound? Or is it silent, for B-roll?

9. Notes

This is where you describe the scene’s action or camera movements in more detail. For example, “Camera follows Jack carrying coffee from the counter to the table.”

10. Cast or Talent

Who’s in the shot? Are they famous? Can we get an autograph?

11. Setup Time

List the approximate time it’ll take to set up or reset the scene.

12. Shoot Time

Here you want to get the total time it will take to get your shot. Let’s say the shot is 15 seconds long, and you think it will need four takes to get it right. List 60 seconds (15 x 4).

13. Total Time

Total time is just like it sounds: Your setup time + your shoot time, giving you an idea of how much time this total shot will take. This one is crucial to help you plan your shoot days.

One last thing

Your shot list needs to work for you. Meaning, there’s no right or wrong way to create the perfect shot list. Include whatever information you feel is beneficial to your project, and feel free to remove or add criteria as you see fit.

Frequently asked questions

What is a shot list template?

Here’s exactly how to license music for marketing videos, plus helpful music resources 🎶

Mark Cersosimo — Fri, 03 Sep 2021 13:00:00 +0000

Have you ever watched a scary movie on mute? If you haven’t, here’s a spoiler for you: without the soundtrack, the movie’s not so creepy anymore.

Using the right music in your video can really escalate the emotions you’re trying to display, whether it be an unsettling orchestra track for a thriller, something upbeat and poppy behind an otherwise drab product demo, or a song that plays up the nostalgia factor in some recently uncovered home movies.

Using music in your next video marketing campaign can have a significant impact on sales. Video advertising helps small businesses grow revenue 49% faster by using engaging visuals combined with background music. Music helps business owners communicate in ways that video can’t by conveying a mood and creating an emotional response in viewers.

That said, finding music you can use legally can seem like a daunting task. So today, we’re highlighting some resources to make the process less risky, and maybe even a little bit easier.

Most music falls under four main categories

Before we get started, let’s review the four main categories most music you can use in a video falls under.

1. Copyrighted

This covers just about all popular music. DJ Khaled’s record label wouldn’t be too pleased if you used his tracks without paying first, so unless you’ve got deep pockets, here’s a major key: Keep it legal and only use music from the remaining categories below.

2. Creative Commons

Creative Commons songs are copyrighted but can be used for free if you follow the specific terms and restrictions attached. There are a variety of different CC licenses. For an overview about Creative Commons, have a look at our help article. For more specific information, you can reference the Creative Commons website to get a closer look at the types of licenses and what they mean.

3. Royalty free

Royalty free doesn’t mean free music. It means you pay a one-time fee to use a music track and then don’t need to pay any royalties thereafter. Some may ask that you provide attribution or credit in return for using the music, and some may actually charge you to use it. Pro tip: Double-check to make sure.

4. Public domain

This refers to music where generally either 1.) the copyright expired or 2.) the copyright owner deliberately placed the song in the public domain. Most public domain resources usually fall under the former; therefore, a lot of the music in this category is really, really old. Like, made-three-DJ-Khaleds-ago old. Read more about the public domain here.

What are the different types of music licenses?

The average internet user only has an attention span of eight seconds, and using music in videos and advertising is crucial to help keep audiences engaged early on. However, it’s also important that you know what kind of license is required to use a track before you add music to your next video.

Sync license. A synchronization license grants permission for a song to be released in video format. Some examples include music that is used in monetized YouTube videos, Blue-Rays, and DVDs.

Mechanic license. These grant permission for a song to be released in an audio-only format. If you want to release a cover song that is available for download or recorded on a CD or vinyl, then you will need a mechanical license.

Master license. If you intend to sample an existing recording to use in a mash up, ad campaign, or other derivative works, then you will need to have a master license.

Theatrical license. If you intend to use music that someone else wrote in a play, musical, or other dramatic performance then a theatrical license will be required.

Public performance license. A public performance license grants permission to play a song or any portion of a song in a public setting. For example, in order for the song to be used online or on the radio, then you may need this license.

Prints-rights license. Music-savvy users might need to obtain a prints-rights license if you want to rearrange or display the printed music notes or lyrics of a song that is under copyright.

Our go-to music resources

The internet is a vast resource to find music to use when creating your own videos. Finding the best resources can be tough, so we did the work for you. Here are some of our favorite resources for finding royalty free, copyrighted, and public domain tracks:

Free Music Archive: This is a huge database with mostly Creative Commons tracks contained within. You can find just about any genre or style of music you want here.

FreeSound: You’ll find a lot of atmospheric music in FreeSound that would work well as a film score. They also have a large amount of sound effects if you’re looking for those.

CCMixter: This is a pretty awesome resource for Creative Commons songs.

Pond5 Public Domain Project: Pond5 has collected nearly 3,000 public domain audio tracks to explore.

OpSound: OpSound is another nice little resource for some Creative Commons tracks.

FreePD: Everything here is in the public domain and newly composed, but there’s not a huge selection.

PublicDomain4U: This site has a small selection of really old jazz and blues songs, if that’s what you’re looking for.

Incompetech: All of the songs in Incompetech are composed by one guy, span a multitude of genres, and are released under a Creative Commons license.

BenSound: BenSound is yet another great Creative Commons resource.

YouTube Audio Library: Did you know that YouTube has a massive library of free tracks and sound effects? True story.

Make it legal

Before you incorporate any tunes into your project, you should always check the fine print to make sure you’re abiding by their license. Also worth mentioning — if you have the budget to pay a small fee for music, the following sites are great resources: Audioblocks, Soundstripe, Bedtracks, MusicBed, PremiumBeat and AudioJungle.

Whether your music is free or paid-for, it’s always important to double-check and make sure you’re abiding by the license terms restrictions attached to that track, and that you’re following any applicable laws. Music licensing is an ever-changing, complex terrain to navigate. Depending on how you use the music, you may need multiple licenses (one for a public performance and another for synchronization, for example). If you’re ever fuzzy or in doubt, always err on the side of caution and consult an attorney for legal advice surrounding your video’s music needs.

Music and song licensing FAQs

How do you license a song for commercial use?

6 tips to help you find your next gig

Aubrey Page — Thu, 10 Sep 2020 16:27:24 +0000

You’ve got the know-how. You have the unique POV. Your portfolio is on point. But how do you get noticed amidst a sea of super-qualified creators? It can be tough to differentiate yourself and find new jobs online — that’s why we’re constantly improving to help you find the opportunities you deserve. Our newly redesigned profile pages are designed to make you stand out to potential collaborators with expanded categories, new formats for displaying your work, and so much more. Plus, Vimeo For Hire is built to help brands and individual creators find perfect fits for their next project. To help you land your next awesome collab, we reached out to filmmakers (and the brains behind a buzzy digital media company) to hear their advice for getting the gig. Here’s what they had to say.

1. Know your stuff

“Keep your eyes open for what everybody else is doing, at all levels,” says filmmaker Alessandra Leone. “Being aware of the status of the industry and keeping up-to-date with freshly published work is the best way to know who the key players are.” Knowing what’s out there not only keeps your eye fresh, but it can also help you find potential collaborators.

If you believe in your work and its place in the world, then chances are, others will too.”

Sean Pecknold Staff-Picked filmmaker

2. Show off your work

“Most people aren’t going to take a chance on what you say you can do,” says Staff-Picked filmmaker Mwita Chacha — so make sure you use your profile to showcase work you’re proud of. Once you’ve got a small portfolio of work you’re stoked to share, make sure to label your videos by relevant categories so it’s even easier to see where your strengths lie, at a glance. Remember to tag your content to make your Vimeo profile super skimmable.

3. Embrace the cold email

“Don’t be afraid to reach out to people you admire directly through Vimeo messages or otherwise. You’d be surprised how many people will take the time to respond,” says Staff-Picked filmmaker Sean Pecknold. While it might seem cliche, “it’s all about who you know” is often still true — and widening your network can help set you up for fruitful collaborations in the future. “This industry is all about connections and connecting dots,” adds Sean. “You have to make work that stands out from the pack, but you also have to do the leg work of sharing the work and helping it find its way around the internet.”

4. Be specific

Use your Vimeo and social profiles to serve as a one-stop-shop for potential hires to see exactly what you offer. Specify your skills and client history on your profile, and consider including details about the gear you own (if any). “If you just bought a new camera, list it, and make sure you list all the gear you have access to,” advises Dundas Media founder Josh Dundas, who recently used Vimeo For Hire to staff a large scale partnership with American Express. Make your contact info easy to find, and share other relevant details (rates, union status, etc.) to make it easy for hiring managers to learn what they need and reach out with your next opportunity. Don’t forget: Vimeo’s easy-to-edit profile interface lets you click into any module and start updating right away, so you can stay current and get back to making awesome content.

Make sure to keep your videos constantly updated on your Vimeo profile. Your work is the only thing I look at.”

Josh Dundas Founder of Dundas Media

5. Don’t fear feedback

Sharing your work with people whose opinion you trust can be crucial to honing your craft in between gigs. “There’s nothing more valuable than feedback to get better at making work for a large audience,” says Alessandra. Once you’ve finished a piece you’re proud of, consider sharing the final product with friends and fans of your work. That simple email or LinkedIn post might even lead to more opportunities down the line. “I’ve never had a huge following, but I share projects with friends who care about my work,” says Mwita. “When they hear of an opportunity, they know what I do — and make the introduction.”

6. Be easy to find

While your Vimeo profile is your work’s best showcase, it can’t be the only place you share your latest projects. “Vimeo is the best place for sharing your work, but also consider places like LinkedIn,” advises Sean. “You’d be surprised how many potential connections there are to be made there.” Luckily, you can easily share your Vimeo profile to Facebook, LinkedIn, and Twitter (to name just a few) with a click. But remember, it’s not enough to build your page and let it sit. “Make sure to keep your videos constantly updated on your Vimeo profile,” says Josh. “I know it can be hard to chase up copies of your recent projects, but for someone like me who is looking through Vimeo to hire creative pros, your work is the only thing I look at.”

Update your Vimeo profile now

How to assemble a more diverse film crew

Kate O'Connor Morris — Tue, 11 Aug 2020 17:03:30 +0000

No matter the scale of your production, it takes a village to produce great video. And, if you’re aiming for high-quality video content, you’ll need to rely on a high-caliber crew. That’s why video pro networks are so important. It’s how producers, directors, and major talent come together to ultimately turn out a polished piece of work. One seriously important element for the success of your project relies on bringing diversity to your production talent and crew. Making a clear commitment to fair representation won’t simply improve your project — it can help bring about lasting change. We know how the chaos of production can feel. Whether you’re on your first video or 90th, it can be tempting to lean on the networks you’re familiar with. But, with a few small tweaks to your routine — it is actually easy to branch out beyond your personal circles and find great candidates who would love the opportunity to have more access to creative careers. (If you’re not sure where to start, check out For Hire to start building your dream crew.) We spoke to four top-notch filmmakers who are excellent at bringing diversity seamlessly into their projects and narratives. Here’s what they had to say:

Widen your network

Staff Picked documentarian Veena Rao, and director of Vimeo’s Small Business Shorts series, makes a concerted effort to bring diverse talent to all levels of production. From sound design to colorists, Veena is always looking to hire highly skilled, underrepresented creative pros to make her narratives come to life. Here’s a clue in to how she staffs a diverse crew — regardless if she’s shooting in Buffalo or Istanbul. “Sometimes when in a time crunch, you go with the first names that come recommended from a trusted colleague, or someone who has a nice list of credits or a strong reel, but don’t necessarily put a priority on representation. You have to work harder to cultivate relationships and get into networks that support BIPOC and women creators. That way you have places to tap into when you are gearing up for production. Follow organizations like Firelight Media, Chicken and Egg, and Brown Girls Doc Mafia, which recently created this list of BIPOC crew. You can also request a list of Black Editors from Ri-Karlo Handy here. Start prioritizing a diverse crew. Then, create your own lists that you can share.”

Take your activism to work (and maybe throw out the resume)

Award-winning filmmaker, Mohammad Gorjestani, melds raw, unabashed activism both in his independent work and his branded content. His creative studio and production company Even/Odd churns out these narratives for big names like Square, Beats by Dr. Dre, and Lyft. His crews have masterfully tackled issues like women’s incarceration, First Nation empowerment, and what it means to be an immigrant in America. And, in telling those stories, he is equally passionate about building a crew that mirrors these underrepresented perspectives.

“When you actually do the homework, and study the issues and why they matter, the conversation becomes easier. Having the conviction to say, ‘I’m not going to limit my activism to my personal time. I’m also going to take it to the workplace.’ Because it’s where you work in America that you’re going to make the cultural change that’s needed to affect the economic futures of so many people, especially artists & filmmakers.

We have to change what we define as merit. And that will require you to say, ‘You know what? I can’t look at a resume. A college degree isn’t a qualifying thing. I’m looking at a series of reels, and the person who is a minority may not have had the access to make the quality of reel as their white counterpart. And if I’m in a position of power, I need to hire people who are skilled at seeing raw potential and actual unique perspective.’ So much of what minority filmmakers need is rooted in resources, support, and apparatus to take our ideas born from adversity and allow us to execute them in a high-quality way –– something that white filmmakers I think take for granted.”

But do it in your downtime, too

Executive Producer, Eric Tu, has his own unique approach to large scale ad campaigns (and he’s taken home Cannes Lions and Emmy awards). For him, whether it’s music videos or art house productions, keeping the crew representative of varying backgrounds happens more often in the lulls between shooting. “Make diversity and inclusion your passion during down time between projects. I always have a list on my phone of talent and crew I want to collaborate with. When I am out socializing I try to spark conversations with people who don’t look like me or have the same background. In most cases, careers come up. If they express interest but don’t have a formal network into our industry I always offer to make intros. You’d be surprised how many check back with me years later with lots of industry experience, eager to offer to free support since I helped them start their careers. I generally ask them to just pay it forward to someone else who wants to break into the industry. It’s really a beautiful cycle. Pushing for diversity is a career-long journey and it always proves to be a win / win for everyone. I bring this knowledge and passion to client meetings. It makes each brief an exciting opportunity to be more inclusive and celebrate how many choices we have.”

Be intentional

Filmmaker Oge Egbuonu — whose vital documentary “(In)visible Portraits” debuted on Vimeo this year — knew that staffing her shoot was an opportunity to create more spaces for underrepresented members of the industry. So she spent three months sourcing an all-woman crew for her production. Here’s what she had to say about the experience: “I set the intention in the very beginning to cultivate a space that invited softness, tenderness, and warmth during production. For me, that involved a production crew of all women. I had a lot of people tell me to just hire men, as there were more men available than women, but I knew it was possible to find women, on any level, who could do the job, it just required patience and research. I talked to friends in industry and gathered recommendations and I researched on Free The Work. My process was mostly word of mouth, but I will say this: It is possible to fill production roles with women. We are here and we are available. We just need the opportunity.”

Remember: No experience necessary

One final takeaway about staffing your video team: Any hard working person is an asset to your production. Anyone who holds a job in the service industry can PA. Any trustworthy human with a driver’s license can transport grip. Any organized individual can support producers, directors, and talent. So the next time you’re building your crew: Look beyond film school networks, and ask way beyond the film industry. Tap friends who manage staff or employees in any field. Think: Restaurants, retail, even high school teachers you know. Who do they know that stands out, and might not have the means to kick off a creative career on their own? Be blunt! Tell them you’re looking for ambitious women, BIPOC, and lower-income background humans to help with production — no experience necessary.

Find top talent on Vimeo

How to format your screenplay like a pro

Vimeo Staff — Tue, 03 Dec 2019 18:00:04 +0000

While there’s no right way to write or format a script, formatting yours correctly can do wonders for your overall production. For starters, a well-written screenplay will help organize your actors, videographers, and directors into an efficient team. It also effectively communicates your vision, getting your entire crew on the same page to bring it to life. Since formatting is so crucial — and your finished film — today, we’re diving into the fundamentals. Word, ya heard?

The basics

Screenwriting is basically comprised of four components. Those are:

Scene headings (aka “slug lines”)
Action
Character names
Dialogue

Slug lines

Stage direction and shot headings (aka “slug lines”) help establish scene and setting. Therefore, the beginning of every new scene in your screenplay should include a quick slug line. Here’s what they look like: As you may have noticed, slug lines are typed across the page from left margin to right margin in all caps. Next, you’ll see “INT.” or “EXT.” which stands for “interior” and “exterior” respectively. These descriptors provide the reader with a setting for the scene — interior meaning the scene takes place inside, and exterior meaning it takes place outside. Lastly, you’ll want to note that a hyphen or dash is used to separate the location from the time of day in which the scene takes place.

Action

Action is used to describe what your audience will experience on the screen. It’s always written in present tense and should follow the standard rules of grammar. While some screenwriters choose to include camera direction within their screenplay (i.e. “As he walks by, we pan over to see a young man peaking around the corner.”), we do not recommend this addition. Direction in your screenplay is best left for the director to dictate.

Character names

Character names frequently come into play within the action. And when they do, capitalize them. When introducing any character, or referring to a character’s action within the scene, always capitalize their name. This rule applies to all characters — from protagonists to BODYGUARD or MAGICIAN. When not to capitalize characters: The exception to this rule is if one character is referring to another one by name in dialogue. For example, “Hey Kat, can you hand me the phone?” As apposed to in action, KAT hands COREY the phone.

Dialogue

Dialogue is anything your characters say. As you write and format your work, remember that screenplay dialogue uses no quotations. Instead, center the words under the name of the character who says them. Also, if you want to add detail of what the character looks like or how they deliver the line, just add it in parenthesis below their name, like so:

Putting it all together

Your screenplay should be written on standard 8.5 x 11-inch paper. And always, always, always use 12-point Courier font. If you can afford it, install Final Draft for your computer (about $300 for the latest program). This self-formatting screenwriting program is the gold standard in the film industry, and it will save you hours of formatting and revision time. Here’s an example of a properly formatted screenplay that uses all the techniques we’ve gone over: Now you’re ready to write your masterpiece. Good luck!

Should I hire an all-in-one videographer or a traditional crew?

Jourdan Aldredge — Thu, 24 Oct 2019 11:55:30 +0000

For anyone new to the video world, finding the right pros to realize your vision can be tricky enough. Add to that the loosely defined terms around roles (and sometimes stringent guidelines that dictate payment) — not to mention the new wave of filmmakers and videographers who can seemingly do everything solo — and it can be hard to tell how best to proceed. To help you understand the landscape — and manage both budgets and expectations — we’re taking a look at the differences between individual roles, hybrid crews, and all-in-one videographers. Let’s get started.

Traditional crews (aka individual roles)

Classic film production roles exist for a reason. Largely representative of traditional filmmaking, each individual role requires a great deal of specialized training, experience, and skill sets — especially on large productions. If you’re working on a big project in Los Angeles, New York, or any other major filmmaking hub, you’re likely to see individual roles defined on a production’s call sheet, such as: Producer, Director, Sound Engineer, Gaffer… you get the picture. (Learn more about each of these roles here.) When working on a project of this scale, you should expect to spend thousands to tens of thousands of dollars per project. You not only have to consider day rates (often multiple day rates), but you also have to adhere to industry and union guidelines. That said, you can also expect the highest level of quality from these type of productions. Hiring individual roles usually means working with some of the best specialists in the business, including producers and directors with decades of experience. If you haven’t done much video work at this scale, we recommend working with a producer or production agent who has. They can assist you with budgeting and hiring for all the individual roles in your production. One other consideration: These individualized, larger productions often have the longest lead times. Be sure to factor in time for negotiating contracts and meticulously coordinating production.

Hybrid crews

In smaller productions, there are many instances when individual crew members take on hybrid roles — or multiple roles all at once. You’ll often see this with passion-project indie films or commercial videos made in conjunction with small production companies. While the roles can be divided by departments (ie: pre-production producers and shooters; production experts; and post-production editors), it’s usually more of an organic process where individuals with multiple skill sets choose to work together, taking on any number of tasks as needed. Small, hybrid-crew shoots split the difference between big individual-role productions and the tiny all-in-one projects. You can find these small crews online as small video production companies or video production agencies. They might have one or two principal members, who in turn have a handful of regular employees or freelance collaborators. When working with these hybrid-role crews, you should expect to spend between a thousand to several thousand dollars per project. But in doing so, you can also expect high-quality work executed to meet your needs. You can also expect a single point of contact, if not a project manager, to coordinate with you across all parts of the production.

All-in-one videographers

As the digital video industry continues to evolve, the all-in-one videographer has become more common. In fact, many small- or medium-sized businesses are hiring these jack-of-all-trades to work freelance or in-house, concepting, shooting, and editing videos solo. While working with an all-in-one videographer might be the cheapest (and usually quickest) option, it does come with a higher risk. An all-in-one videographer means there’s only one person on set to manage production. It also means you’ll only have one set of gear, which presents challenges for more involved projects — not to mention in the event of equipment malfunction. Despite the risk, this option presents an affordable route for quick-turn video projects, making it ideal for small businesses looking to get their feet wet with video. It also presents new opportunities for up-and-coming filmmakers to explore the full spectrum of video making, and can often yield results just as impressive as larger-scale productions. (Be sure to check out this flower shop video for proof).

Your guide to video project rates

Jourdan Aldredge — Tue, 15 Oct 2019 16:41:09 +0000

When hiring a video professional, you might think there’s a set of universal guidelines that govern pay rates. However, as any filmmaker or videographer will tell you, there are many variables to consider when deciding on a dollar amount; rates can (and often do) vary widely from project to project. That said, there are a few key elements to keep in mind when calculating video project rates. We’re outlining a few of the big ones — like day rates vs. project rates vs. hourly rates — below. Scroll on for insight into the different breakdowns, with tips for deciding which one’s right for your next video project.

Day rates

The most common video project rates are day rates. This is especially true for the super-specific jobs you might be hiring for — such as Director, Director of Photography (DP), Assistant Director (AD), Production Assistant (PA), and so on. (Need a refresher on what these roles mean? Read up on them here.) Typical day rates depend on the region where you’re hiring, and can range anywhere from $400 to $800 per day and up — with a “day” being anywhere from 6–10 hours. If your shoot will fit into a window of fewer than 4–5 hours including set-up and take-down time, you may be able to negotiate a half-day rate. One important note is that hard costs like camera rentals are often only available at full-day rates, so you’ll want to account for that expenditure going in.

Hourly rates

A less common way of breaking down video project costs is by the hour. Not all video professionals are accustomed to working on hourly rates. That said, some projects may warrant it; in those cases, hourly rates can be negotiated. The most likely scenarios for using hourly rates are video editing projects. Again, rates will vary based on experience and the task at hand. If you go based on the day rates mentioned above, you’re looking at rough numbers between $25 to $100 per hour — and up.

Project rates

As solo, do-it-all filmmakers and small hybrid crews are becoming more common, so too are all-inclusive project rates. Often times, these rates will be meticulously line itemed to list out every single cost across the complete scope of the project. And while this may seem excessive, it’s actually ideal. This approach gives you the full picture of what your video production will cost, and it level sets expectations from the get-go. Add timelines, deliverables, and dates to the list, and you’ll be on your way to a well-oiled project. Pro tip: Be sure to discuss what you’ll be using the video files for as the rights may change the cost.

Camera and gear costs

One common oversight for people hiring video professionals is the sheer cost of cameras, equipment, and gear. Whether you’re hiring a solo filmmaker or small video production company, they’re likely investing tens of thousands of dollars into cameras and gear, either through renting or owning their equipment. Not just in one-off costs either, but also in maintenance, updates, and insurance. These costs should absolutely be factored in when discussing any video project rate. To get a better understanding of how much to put forth, you can always research what it costs to rent a camera from a rental house, or check out the equipment online (including what it costs to insure). Happy hiring!

How to hire a film crew if you’re a video newb

Kate O'Connor Morris — Thu, 10 Oct 2019 17:39:04 +0000

Amazing films are made from amazing collaborations — between creatives, crew members, and beyond. But if you’re new to the video-making world, it can be hard to know where to start with hiring a film crew. Here are some tips for getting started.

1. Decide what roles you need

Once your budget is set, and you know the scope of your project, list out who you need to make your production happen. Not sure how many team members you need? This film crew breakdown is a great starting point for narrowing down the video pros you’ll want to staff for. Once you start kicking off your project, chat with directors or producers about their thoughts on the crew size. Ask them their opinion on if they think that’s a sufficient team to get your project done on time.

2. Find your pros

Share the news that you’re hiring, and touch base with video pros in your network. Have budget to hire help with your video project? Post your job for free on our marketplace. From there, thousands of animators, editors, and Staff Picked Vimeo creators can bid on your listing. Not ready for a formal job post? You can still browse the video pros available for hire in your area and say hello.

3. Pitch them your project

Once you start hearing back from crew members, you should provide creative direction about what exactly it is they’re going to help you make. Talk about your project. Lay out what you want it to accomplish, how (and if) you want it to be different, and outline how their area of expertise can make your video something special. If they express interest in the project, clearly outline the benefits. This will make sure everyone’s on the same page about the scale of the project, and what’s going to be expected of them. Hit on day rate, production timeline, hours of daily shooting, and highlight any perks (like free meals or travel).

4. Remember: Your crew are your collaborators

Great creative relationships take time and energy to cultivate, and the best ones are reciprocal. So, once you’ve lined up a crew, treat them right. That means feeding your people, including them on creative decisions, paying them on time, and making sure their working environment is as pleasant and stress-free as possible. Do all of this not only because being a good human makes most things easier, but also making videos is a fun, weird experience that requires the help and dedication of many. Simply put: Your project will turn out better if you regard your team as collaborators instead of just employees. So make sure you staff a team you trust and respect. And, do your part to establish trust, build camaraderie, and lay the foundation for collaborating on future projects.

5. Say thank you

This one is big, massive. It doesn’t matter how small or big their part, whoever helped make your video happen, you’ve gotta thank them. Give onscreen credit, public credit, email credit, Vimeo profile credit to anyone who helped get your video over the finish line. And, even in this digital age, an in-person thank you goes a long way.

5 questions to ask yourself when you’re hiring a video pro

Kate O'Connor Morris — Mon, 30 Sep 2019 12:00:11 +0000

Hiring a video professional for your next project is an exciting stage in pre-production. This is where you can dream big together — and collaborate towards a common goal. To find these amazing individuals, perhaps you posted your job on our hiring tool, or you received recommendations from your personal network.

Now, the dream scenario: Multiple talented pros are bidding on your project. You’ve got a strong list of reels and any one of these creatives could be a great option. This is where things get tough. Deciding on the absolute best pro can feel daunting.

But never fear! Today, we’re sharing a list of five simple questions to contemplate as you narrow down the pool of candidates. Ready to start pondering?

1. Do you like their work?

Respecting and trusting your team’s ability to create a final product will inform every step of a working relationship. This is where you can really trust your instincts. Scan through the reels you’ve received, and don’t second-guess it. Which portfolios inspire to you? Reach out to them first. If a particular project in a reel speaks to you, ask them what they needed to get that kind of work done. Ultimately, if you like what they do, you’re going to agree on the more fundamental decisions in your project. Or, even better: You’ll trust them wholeheartedly to run with their vision.

2. Can you afford them?

This one’s pretty simple, but so important: Pay people their market rate. If you don’t, you’ll regret it — and the work will ultimately suffer. Go in with a set budget, and be realistic about what you can commit to. If the pro you want to hire has a day rate that’s too high for you, don’t try to squeeze in fewer days for the same amount of work. If you’re able, adding more days to your budget can secure you the caliber of talent you want. Just be open to hearing what your creative candidate requires to produce their best work.

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3. Have they done the work you need?

Once you have a few portfolios or reels that speak to you, drill down from there. Determine what you need created, and then identify which candidates have produced that type of work. If you need a product video, sort out who is comfortable in that space. And, have they done so in your budget? If you don’t see it in their reel, but you’re really into their style of work, reach out and ask for examples of what you need completed.

4. How do you communicate?

It takes a village to make a great video — and if that village can’t communicate effectively or solve production issues efficiently, you’ll be at your wits’ end by the time you wrap. If your early conversations with a creative pro go well and everyone gets along, that’s a great sign. Want to know how they’ll collaborate or handle conflict? Go beyond asking them how they take criticism and go for something tangible. Give them constructive feedback on their reel and see how they react. If their response jives with you, you’re on the right track.

5. What have they finished?

Idea people are amazing. They’re inspiring and necessary. But, if you need a finished video on a set timeline, you’ll need more than a visionary. Dig into your candidates’ workflows and turnaround times. Some creatives iterate quickly, while others produce incredible content with longer lead times. Get to know how your final candidates work best, and go with the person that can get you what you need when you need it.