Preserving your memories IV - Vinyl Album or Single Transfers

So you have that irreplaceable album that never made the leap to digital in the marketplace. Or maybe you have a tape or reel to reel of Grandma singing at the piano. You can now preserve these in a digital format which will be easy to manipulate, edit and share.

Today we will talk about transferring vinyl records to digital media files.

This is one painstaking and time consuming process if you want to do it right.

First you need a USB turntable or an older turntable adapted to your input card on your computer.

Next you need some kind of capture software that has some capacity to EQ, filter and process the captured digital audio files.

You may have seen the turntables that are offered with credit card statements or online. They look like old radios or consoles. BUYER BEWARE. Mechanically they are not accurate which may add rumble and hum to your tracks and in most cases they offer ceramic cartridges which are highly abrasive and less efficient compared to a traditional stylus. Don't waste your money on these rigs. Search the net for other solutions or go to a studio that offers a transfer service. In my opinion, if you want to do this on your own you will have to invest $150 or more on a new USB turntable and stay away from ceramic cartridges.

Once your software is running you have to clean your disc. Use a static free cloth and slowly move it from the centre of the record to the outside while the turntable is turning. Next you play it while capturing/recording the tracks with your sound device. 

You have to capture in real time. Some software will allow you to index your tracks on the fly and others will capture entire sides where you have to go into the software later and divide the side into the individual songs. It doesn't stop there. 

Once you have your sound recorded you may need to add noise reduction, filter out rumble and de- click if the album is old and scuffed up. All of this processing can add up to a lot of time. Remember too that each thing you do to "improve" the audio sacrifices something else. There is a lot of experimentation here. Be prepared to spend more than a couple of hours per record.

Most USB turntables do not have the 78 speed. In this case you playback the disc at 45 rpm and then do a speed conversion with the software you have. The results are kind of cool. It's a neat workaround.

I once had a really neat disk to convert. It was from a soldier overseas during WW II who went into one of the old recording booths to record an engraved 1 minute disk to send home to his mother. It was ra very small disc accorded as a 78 so I had to convert it using a pitch/speed plug-in with my software. Then I processed it using a de-click plug-in and noise filter. The result was quite gratifying. A little WW II history leapt out of the speakers at me. Very cool!

Once you have all of your album tracks recorded, processed and split then you have to burn your CD master using whatever software you prefer. 

Remember, if you have good gear, have lots of patience and good recording media you will get a decent result. If you are in a hurry the results will not be as nice as you would hope.

In the next instalments we will talk about transferring magnetic media formats into a digital format.

Thanks for reading. Remember, if you have questions or comments please feel free to add them. Also keep in mind that KEMEdia Studios offer these transfers services should you require them.

You can receive notice of new blog instalments automatically. Please subscribe to the Blog by "Joining this site" and becoming a member.

Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.

Preserving your memories III - A short history lesson on media - Vinyl Albums, Audio Cassettes, Reel-to-Reel Tape and yes, even 8 Track Tapes

In this third blog of my series on preserving your memories, I am going to talk about audio source media.

in the next couple of blogs I'll talk about about preserving your analog sound media.

First a little history.

Vinyl Records such as 78's or LP's

Records were a huge driving force for music and entertainment. As usual, there were many formats over the years. Each successive format got a little better and more versatile with some exceptions.

The first really commonplace record was the 78, so named because it had to be played back on turntables that could rotate at 78 revolutions per minute. 

Developed in the late 1890's, it was the only readily available format (other than cylinders) until the 50's when 33 1/3's and 45's were developed.

Fidelity wasn't great but it was reliable. They were also quite fragile because the material used was hard and somewhat brittle so as to improve wear characteristics. At the 78 speed recording companies could not put much on each side of the disc. A capacity of 3 to 5 minutes per side was possible depending on the record diameter. 

When 33 and a 1/3 LP's were developed, record companies were able to increase the amount of media recorded on a disc. They were also less fragile than the 78's as different types of vinyl were used for pressing.

By lowering the number of rpm's and making the disc somewhat larger in diameter, record  labels could put approximately 45 minutes of music over the two sides of an album. 

The 45 rpm, or single, was the engine of radio play from the 50's to the 70's. Artists would release their new songs on a 45 and then follow up with the  long play album as a 33.

These formats were fabulously reliable but prone to wear and tear. They had to be played back on a turntable with a stylus or needle. The needle would eventually wear the grooves of the record and the needle itself would wear out. This compromised audio clarity and reliability and contributed to a lot of background noise, hiss and clicks and pops on playback.

There are still many people who mourn the loss of the vinyl format. They pine for the "warmth" of the acoustic and analog recording and tend to ignore the artifacts that appear through constant playback.

Tape formats

Recording to tape started with reel-to-reel units. Professional recording decks had several speeds available to them. The rule was the faster you record the better the quality as there was less signal being recorded on more tape.

As a rule, professional recordings were made at a speed of no less than 7 1/2 inches per second and more often than not at 15 inches per second. In many cases 30 ips was used for higher fidelity. Consumer decks generally had lower speeds allowing for longer duration on spools of tape. As a rule consumer decks had 1 7/8 ips, 3 3/4 ips and 7 1/2 ips. 

Interestingly enough there was a speed slower than those that was used for extremely long duration purposes such as radio station log tapes. The speed was 15/16 inches per second. As a boy hanging around the stations where my Dad was a broadcaster I remember seeing these tapes moving super slow, recording the program output of the station.

The move to tape recording allowed for something that was not possible before. Editing now was now a part of the workflow. Using specialized recorders, razor blades, a splicing block and splicing tape, audio engineers could cut and paste to their hearts content giving the recording industry a whole lot more flexibility and versatility.

The problem with reel to reel recording for consumers was the high price of admission. Decks were expensive and had to be maintained constantly for optimal perfromance.

In 1963 the Phillips company introduced the audio cassette as a new standard for the consumer. It was a standard size tape, recorded at a standard speed and offered instant load and playback without ever having to touch the tape. It sold like crazy. For the first time ever you could play the music you wanted in your car. This drove te format to huge volumes of sale. The format was robust and reliable although car playback exposed tapes to very harsh conditions which could deteriorate the tape quickly. Wow and flutter would be exhibited on tapes which degraded audio fidelity as the ribbon would distort and change with the heat and cold extremes.

Later in the 60's a new format called 8 track was brought to market. This again was a tape cartridge that you inserted into a deck for playback. Playback decks generally had a button to select one of  four available "sides' of a tape, allowing some flexibility in access to the tracks you wanted to hear. it was also and "endless" format. An 8 track would play its contents forever if you let it. This was great for some applications like restaurants and stores. Drawbacks were that it was much bulkier than the audio cassette and suffered from some mechanical weaknesses. Sometimes it switched tracks in the middle of a song. Record labels would change album play orders around to accommodate the amount of time allowable on each track. Fidelity was almost the same as the audio cassette.

Signal to Noise Ratio

This is described as the amount of the desired recorded signal you want to hear vs. the level of background noise. The chart below illustrates the differences between the various medias that have been available. It should be noted that higher numbers are what is wanted for audio clarity.

78 - 35 db

33 1/3 - 40 db

45 - 40 db

8 Track  - 40 to 45 db

Audio Cassette - 45 db

Reel to Reel - 40 to 45 db

VHS mono or stereo - 45 db

VHS stereo HiFi - 90 db

Compact Disc - 95+

DVD - 95+

In the next instalments we will talk about what to expect if you want to transfer your precious sound files from any of the above formats into a digital format.

Thanks for reading. Remember, if you have questions or comments please feel free to add them. Also keep in mind that KEMEdia Studios offer these transfers services should you require them.

You can receive notice of new blog instalments automatically. Please subscribe to the Blog by "Joining this site" and becoming a member.

Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.

Preserving Your Memories II - Preserving old Films

In the last blog I talked about preserving old photos and slides by converting them to digital formats that are easy to share. In this KEMEdia Moment I will talk about 8mm, Super 8, Super 8 Sound, 9.5 mm and 16 mm films, the various ways they can be processed and what to watch out for in a quality transfer.

You may remember Dad dragging out the projector and screen, fiddling with splices and reels and the old family home movie night. I certainly do because my Dad was all thumbs when it came to anything mechanical and so I was usually the one called to be the projectionist and splicer.

16 millimeter

The first home film format was 16mm and you pretty much had to be well off or well connected to be able to afford the camera, film stock and developing.  This format can be silent, meaning it normally has sprocket holes on both edges of the film or with an optical sound track on one side of the frame with sprocket perforations on the other. There are variations on 16mm stock but Standard 16 is by far the most common.

The earliest films KEMEdia ever transferred were from the late 1920's. They were in fantastic shape and came out extremely well. It was fascinating to see footage of my native Montreal almost a hundred years ago.

Standard 8 millimeter

Later, Standard 8mm film (also known as Regular 8 or Double 8) came around. This was a much more affordable home movie format than 16mm and soon became a great addition to family souvenirs. It was developed by Kodak in the 30's and was in reality 16mm film stock that had more sprocket perforations than normal. The film was exposed along half of its width and then the reel was flopped in the camera to expose the other half. During processing the film was split into two 8mm widths and spliced together for projection. It was an exceedingly clever idea that allowed 4 times the number of images than 16mm making it much more economical for the masses. The format exploded and soon everyone was shooting home movies. Normal shooting speed was 16 frames per second and a roll lasted approximately 3 minutes.

Super 8 millimeter

Super-8 film was released in 1965 and was quickly adopted as the new standard as it It featured a better quality image, and was much easier to use. It was now a cartridge-loading system which did not require re-loading your film stock halfway through exposure.  At one point Super-8 was available with a magnetic sound track at the edge of the film but as video cameras became more readily available it was doomed and was discontinued.

Oddly enough in this "video age", there has been a bit of a renaissance  of Super-8 film use. Because of advances in film stocks and digital technology, real film aficionados can shoot on low cost Super 8 equipment and then transfer the footage to a digital format for editing. Film is much more versatile than video and so those who want a different look and feel to their projects have found this an interesting alternative. I have seen wedding videographers advertise this as an option for their clients.

9.5 millimeter

Developed by Pathé this format uses a single, central sprocket hole between each frame. This is different than 8 mm film, where the holes are along one edge, or most other film formats, which have them on each side of the frame. This format was popular in Europe but was not used much in North America. In fact in all of my years of media production I have only seen one reel come through my doors.

Transferring Film to Video

The transfer of film to video is called telecine. There are many different ways to transfer film. Some are excellent others are poor.

At a bare minimum the projectors used have to be in some way or other, synchronized for video and the video camera that captures the image should have 3 image sensors for best results.

The important things to remember are frame rates and parallax.

Frame rates

Most film runs at 16 or 24 frames per second with 16 fps being the norm. Video works at 30 frames per second (29.97). If you do not compensate for the the frame rate difference your image will have a flicker to it. In simple terms every few frames of image will have the black bar of the frame projected in the image. In other words, each frame is not shot fully registered (full image frame). This happens very fast and your eyes interpret it as a shadow or flicker. It is most annoying to watch films with this especially when it is easily removed by having a synchronized projector. Synchronization can be achieved in three ways; a speed rheostat (good), a 5 blade gate (better) or a spot scanning system (best).

A scanning system allows you to scan a distinct frame of digital video for each frame of film, providing higher quality than a traditional telecine system can achieve. Without sounding too technical, best results are achieved by using software that uses a smoothing (interpolating algorithm) rather than a frame duplication algorithm to adjust for speed differences between the film and video frame rate. All you really need to know is that it works.

Wall Projection

This is where someone projects the film on a wall or screen and then sets the video camera up above or beside it to capture the image. There are a number of reasons why this results in poor quality and should be avoided at all costs. First. true good results can only be achieved by having the recording camera in a non-parallax position. That is to say at complete right angle to the projected image. Wall Projection won't allow for this because the video camera lens would have to be exactly where the projector lens is in order for it to be perfect. The end result is that it is exceedingly difficult to get corner to corner coverage and something in the image will be soft or out of focus. If the projector used can't compensate for frame rate differences then the results just frankly suck. This is the setup used by people who just want to make a quick buck.

Telecine Chain

This is the most popular setup. The projector projects the image into a box that has a mirror which refracts the image at a 90 degree angle. This allows the placement of the video camera at right angles to the projector which eliminates parallax and the aforementioned softness in the resulting image. If the operator has the right gear and pays great attention to the setup and execution, the results can be excellent. As this type of chain allows for a huge diversity of projector and camera combinations you should ask about their gear and to see some examples before going ahead.

Direct Transfer Telecine

This setup has a video camera mounted facing the projector lens. Usually the camera is built in to the projector. It is monitored by connecting the camera to an external monitor. results are good and much better if a 3 image sensor camera is used.

Scanning

As explained above, this is the current winner for high quality transfers as it compensates for all of the artifacts associated with film to video transfers. Newer HD units offer the best bang for your buck. While you can't improve on the original it is nice to be able to capture it in the best format possible. If this service is available it will be worth the extra cost.

Conclusion

Film transfers are a very time consuming and persnickety service for the provider to offer. All transfers happen in real time and have to be manipulated to the media of your choice. As a result, it can get expensive with rates ranging from 10 cents to 25 cents per foot. My advice is for you to strike up a relationship with your provider. Ask questions. Ask to see their set-up(s). Ask to see examples. How long have they been doing this? Do they do it in house or do they farm it out to a lab? Ask them to run a test reel for you. If you like what you see and the price is right then go for it. Films deteriorate with age. The sooner you have them transferred the better.

As always if we can help here at KEMEdia then contact us by email at info@keme.qc.ca and visit our website at:

www.keme.qc.ca

In coming KEMEdia Moments we will discuss preserving;

Vinyl Discs (45's. 33's, 78's) & Audio Tapes (Reel to Reel, Audio Cassettes, 8 Tracks etc.)

Tape media 
(Consumer & Prosumer formats VHS, S-VHS, Beta, Video 8, Hi8, Digital 8, Mini DV, DVCam)

Disc media CD & DVD (DVD 5, Dual Layer DVD 9, BluRay)

and Memory Cards and Drives

We will also talk about the care and storage of all media and how you can help preserve and prolong the life of older formats until they are placed in a digital form.

You can receive notice of new blog instalments automatically. Please subscribe to the Blog by "Joining this site" and becoming a member.

Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.

Preserving Your Memories I - Preserving your precious memories in the digital age!

Since man has made inages many formats have come and gone.

Who would have thought that the 35 millimeter slide that was so ubiquitous for decades would not even be recognized by the youth of today. So too, the family photo albums are slowly going the way of the dodo bird as digital albums, digital frames and Cloud storage become all pervasive.

This leaves a huge problem for those who inherit or who wish to preserve the precious memories that almost every family has. Family members, relatives and genealogy amateurs and professionals mourn the loss of any type of family history or memorabilia, so it is important that we take steps to preserve them today and hopefully have them ready for any format that becomes available in the future.

Today the big bonus of preservation is that when you finally have everything processed you can share it all with family and friends more easily and cheaply than at any time in the past.

There have been many ways to preserve the old formats. In the next few KEMEdia Moments I will try to itemize and explain how different formats can be processed so as to keep them relevant in the digital age. In addition you will hopefully have them ready to jump to any new format of the future.

Keep in mind that quality will always be of the utmost importance in these articles. There are many solutions, not all of them good. At KEMEdia (www.keme.qc.ca) we specialize in many of these processes and I personally have almost 30 years of experience in the field. We have tried and discarded many formulas. In these blogs I will try to help you avoid many of the pitfalls associated with projects like this.

Let's start with the older formats. In this article we will talk about...

Photos and Slides
The most common and treasured memory device, photos have always had the advantage of being easy to make, reliable, long lasting, decent quality and easy to organize. Anyone who wants to preserve photos has to realize that there are a lot of different ways to do it.

You first have to decide what you eventually want to do with the finished files. Is it strictly for archiving? Do you want to share them with others using disc media or the cloud? Will you use them in multi media presentations? Will you want to re-print them using an on-line book printing service? Will you want to blow some up and print them in a larger format? Once you have answered these questions it will be a little easier to select a service or hardware/software solution in order to get started.

For my money you should always go for big files just in case you want to have the ability to do any of the above. A large file can be easily reduced for sharing but a small file will not stand up for blown up prints or HD media usage. Just be aware, capturing high quality may cost a lot and will take a lot of time and patience as well as the proper gear and software if you do it yourself.

Dots per Inch or DPI is the basic measurement for scanning. If you want to get more involved then colour depth (bit rates) and types of files (RGB or CMYK) will also come into play. These can generally be altered in your post production software and may or may not have destructive traits on your files.

There are scanning services available at some chain stores but beware. These generally offer low resolution files of 72 dpi and are only good for small reprints or smaller digital frames. Remember, you get what you pay for. If the provider can offer a higher DPI like 300 it will be worth the extra expense. It will cost more because these scans take longer to do, they make larger files and therefor need more storage on discs or hard drives.

You may have seen cheap transfer units offered for sale in your credit card statements or at electronic stores. Their limiting factor is the size that can be scanned and the included software, which may not be compliant enough to offer you higher DPI rates. A little research will help you here. See if you can try before you buy.

Professional houses may offer you files using larger scanners that are adapted for photos and/or slides. Here you may be able to write your own formula for the product you want. Just be aware that bigger and better takes longer and so it will cost more.

Slides are more difficult because scanners have to have specialized apparatus to do them. They generally will scan 4 or more at a time as one file which means time must be spent cropping and correcting individual images. The eventual finished files are often much smaller and less versatile. Whenever possible get the largest file you can on a multiple image scan.

At our studio we have come up with a different technique for slides using Digital SLR's. We get excellent results while spending much less time than we would by scanning. Since we have been doing slides this way we have found the files to be very compliant for colour correction, resizing and retouching. For a premium we can process and deliver them to you in the RAW format. These are big and highly manipulative files. All-in-all we feel this is the best process for slides or negatives. It ends up being much less costly than scanning. This scenario will also work for photos and other art assuming the proper flat art table and jigs are used.

You may be able to negotiate unaltered files and do the corrections yourself using your software of choice at home. This will save you a lot of money, especially if you have an interest in getting your hands dirty and spending some time to make them perfect.

So decide what your eventual use will be and then research the services in your area or online to see what is available to you.

As always if we can help here at KEMEdia then contact us by email at info@keme.qc.ca

and visit our website at:

www.keme.qc.ca

In the next few articles will talk about:

8mm, Super 8, Super 8 Sound, 9.5 mm and 16 mm film


Vinyl Discs (45's. 33's, 78's) &Audio Tapes (Reel to Reel, Audio Cassettes, 8 Tracks etc.)

Tape media 
(Consumer & Prosumer formats VHS, S-VHS, Beta, Video 8, Hi8, Digital 8, Mini DV, DVCam)

Disc media CD & DVD (DVD 5, Dual Layer DVD 9, BluRay)

and Memory Cards and Drives

We will also talk about the care and storage of all media and how you can help preserve and prolong the life of older formats until they are placed in a digital form.

You can receive notice of new blog instalments automatically. Please subscribe to the Blog by "Joining this site" and becoming a member.

Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.

Pros and Cons of Hard Copies (DVD's) vs. Downloads or Streaming Media or "Why DVD's will be here for awhile" (but not as long as some people think.)

Pros and Cons of Hard Copies (DVD's) vs. Downloads or Streaming Media or "Why DVD's will be here for awhile" (but not as long as some people think.)

Our generation likes to have the media in our hands but the download generation doesn't seem to mind having it as a file. But here a few reasons why DVD"s will be around for awhile.

1-For downloads you absolutely need hi speed Internet. Dial-up users need not apply. As fibre optic networks develop this will be less of an issue. One point each. 
Score DVD 1 - Download 1

2-With downloads you only get the movie. No director's cuts, special features, commentaries, sub titles or languages. So if you are a real student of film you will miss out on some neat stuff. Liner notes and printed content will only be with the DVD hard copy. One point for DVD's.
Score DVD 2 - Download 1

3-While both downloads and DVD's are compressed downloaded or streamed movies are more compressed. This means the quality is not as good as DVD, particularly BluRay. 
Another point for DVD's.
Score DVD 3 - Download 1

4-Download rentals are only for 24 hours. But you don't have to get into your car to return them and there are no late fees. One point for each. 
Score DVD 4 - Download 2

5-Availability - In most cases, Downloads are only available on average 30 days after the DVD release. So if you really want to be the first in your neighbourhood to see the latest Blockbuster you will have to rent or buy the DVD. One point DVD.
Score DVD 5 - Download 2

6-Can you imagine movie night with the family sitting around your computer? I can't, but the next generation of screens will be Smart TV's and stream ready. So services like Netflix will prosper. (God help us all if the internet goes down.) Another point for DVD's.
Score DVD 5 - Download 3

7-Selection - currently you will only find about 20 to 30% of what's available ready for download or streaming. This number will only go up but for now selection is limited. 
Point DVD.

Final Score DVD 6 - Download 3

So, aside from the download convenience factor, DVD's still have a considerable edge..

Thanks for reading! Don't hesitate to send me feedback and comments.

You can receive notice of new blog instalments automatically. Please subscribe to the Blog by "Joining this site" and becoming a member.

Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.

Tips for Performing with Teleprompters

I am fond of saying that the Teleprompter I bought for my studio years ago was one of the best investments I ever made. A prompter can take your average Joe who has never been in front of a camera and make him look like a news anchor. It cuts down production time and editing, delivers a more professional look and depending on the production, can save more money than it costs.

So your boss wants you to be on camera for a corporate video. Here are some tips on how you can deliver an amazing performance.

Although you will have a teleprompter to help you, it is REALLY important that you know the rhythm and cadence of your script extremely well before the camera rolls. A good delivery on camera has a natural rhythm and feel to it. It will take some practice to ensure that things will look and sound great. 

Rehearsal, rehearsal, rehearsal....

Prompters negate the need to memorize, but you have to be comfortable with the content.

When you get your final script, read it through. In your head it has to sound like a conversation rather than like the reading of a text book. Some subtle changes to sentence structure or maybe the odd word change may help your  "verbal" delivery a lot. I suggest you read the script out loud a dozen times or so.This will give you a good feel for the content. Reading aloud may also help remove any stiffness in your delivery. Then, when you are more relaxed, it will allow for some subtle reactions in your face and eyes that will help sell the spontaneity of the content. With practice you will feel much more confident. If the piece is a dialogue between or amongst other on camera people then make sure you rehearse out loud with your fellow actors.

A little animation will go a long way. You have to believe your part. Any changes in verbiage that make you more comfortable are fine as long as the meaning of your point is not changed. Remember, any script changes need to be given to the Prompter Operator the day before the shoot so they can be formatted in the prompter computer. Don't fret if there are last minute changes. If the need arises, changes can be made on the fly while shooting. 

As you rehearse, engage your body language and your hands. Well timed movement, smiles, or nods to the camera can pay huge dividends on impact and professionalism. If you are uncomfortable with this then just concentrate on the rhythm and elocution of your read. After all, the message is the important thing.

On the day of the shoot I generally coach teleprompter readers with these next tips. Try to use them when you rehearse. They may be useful to you if the director doesn't have the time to help.

1 - BREATHE..... People tend to get a little nervous when they get in front of a camera and try to squeeze as much out as they can with a single breath. You need to be cognizant of your breathing and breathing points that should occur in your script 

2 - Relax! I run a very relaxed set. We laugh a lot. Nerves need not be an issue. You have to realize that you are not professional actors, mistakes will be made and really, this is NOT a problem. The way the shoot is normally done allows for editing and in most cases, you need only worry about one paragraph at a time. Believe me, professional actors need many takes. Don't worry about it and don't take everything too seriously. A teleprompter will make you look and sound fantastic. You'll see.

3 - PAUSE - Use the natural sentence structure; phrases, commas and periods as an opportunity to pause for effect. These also make great breathing points. While formatting for the Prompter we can insert spaces or special notes to signal a pause for you. These can be a great aid to your delivery.

4 - SLOW DOWN - Our everyday speaking tends to be very fast and words get slurred together so that a sentence sounds like one word. Slowing down will seem foreign to you at first, especially as you read aloud, but believe me it will look and sound GREAT on camera. Diction, enunciation, breathing at the right time, pausing for effect and modest hand movement and body language will have you selling your part extremely well. With some rehearsal time and everybody's friend, the teleprompter, you will breeze through the shoot.

Usually there will be a minimum of people on set for the shoot. A cameraman, prompter person, maybe a script assistant and yourselves. There will be some lighting and production equipment and personnel. You may be asked to wear a wireless microphone or sound may be captured with a boom microphone. Your wardrobe will probably be discussed in advance and should consist of neutral colours. Although red ties or scarves can be allowed stay away from red jackets if possible. Also avoid busy patterns and fine lines as they can drive a camera crazy. In the HD world these are less of an issue than they were but you should still keep them in mind. I usually recommend you bring a second outfit, just in case. Of course if the shoot is taking place in front of a green screen then you cannot wear any shades of green at all.

So that is it. These tips are simple, easy to practice and worth following. While they don't guarantee an Oscar performance they will certainly help you look and feel great on camera.

Relax and have some fun.

See you in the movies.

Mike

You can receive notice of new blog instalments automatically. Please subscribe to the Blog by "Joining this site" and becoming a member.

Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.

Dealing with electronics salesmen

Hi folks. Welcome to another KEMEdia Moment. 

I’ve been at video and audio production for a long time and I’ve purchased a lot of electronics and computers over the years. I learned a few lessons along the way in dealing with sales staff. I have to admit though, I was one of them in another lifetime. So I have some inside information on what makes them tick and how big box stores operate, so stick around.

Buying electronics or computers can be a daunting task. There are dozens of brand names with even more models, a great variety of pricing and options.

Plus, everybody says they have the best price and that they will match or better a price on any competitors price.

It can be a crock! Dealer A has a set you like for $499.00.

Dealer B has one that is equipped with the same specs but there are slight cosmetic differences. He’s selling it for $ 50  less. You kind of like the colour of the frame on Dealer A’s set so you go to a salesman there and say “Dealer B has the same model for 50 bucks less will you match the price?”

He asks you the model number. Let’s say it’s a Widget 5000 LCD3. Imagine your surprise when he tells you it is not the same model. His model number is 5000LCD3X. It’s a game the manufactures play with their retailers so that they don’t have to cut profits and match prices.

Here is another scenario. The retailer advertises a blow out sale on a DVD player. There are limited quantities so you rush right over. There is only one left and it is practically bolted to the display shelf. He’s not able to sell you the demo model because chances are they will get more stock but while you are here I have an even better model with more features and it only costs 50 bucks more. It's the famous “Bait and Switch” routine. Almost all retailers do it and you don’t have to fall for it. In the final analysis, if you really want the demo model they have to sell it to you.

Finding a good salesman who you can trust can be frustrating. Generally, I find the big box stores staffed with young students who have had a smattering of training and are keen but are not the best at finding what is really best for you. It’s not their fault really. They probably have bosses that are giving them quotas on product and pressuring them all of the time to sell the extended warranties. Why? Because these companies make a lot of money on warranties and salesmen and managers often have bonuses tied to warranty sale performance. Whether or not you buy an extended warranty is really up to you. We’ll cover them in an upcoming blog.

Most towns have a boutique type audio/video/computer store. I find that the staff in these stores are generally older, more experienced and have many years in electronic  sales. Don’t get me wrong. They still are out to make money. Profit is not a 4 letter word. But by virtue of their experience they are better advisors. They generally listen to your needs more and try to fit you with the correct purchase. The big drawback is less selection. I find large selections add to the mud in your brain anyways.

These purchases are generally hefty price tickets. You should take your time. Find a store and a salesman you like and support them. Your continued support will be appreciated and it will pay dividends if you ever need after sales service or something extra in the way of accessories.

We’ll deal with buying specific items in future webisodes. So stay tuned for more KEMEdia Moments.

Thanks for reading. 

Don’t forget, if you have something to say or a question to ask you can e-mail me at info@keme.qc.ca and check out our website at www.keme.qc.ca

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Mike Reid can be heard approximately once a month on the Dave Fisher Show, weekends on CJAD 800 in Montreal. Mike and Dave talk about technology and new directions during these ten minute spots.