Business and distribution Mon, 17 Feb 20 09:46:51 +0000 Business and distribution en-CA Making money on Youtube Sat, 24 Nov 2012 00:50:32 +0000 Vitaliy_Kiselev 5284@/talks/discussions image


Small fun article -

Fair Use and documentaries Sun, 17 Mar 2019 21:55:37 +0000 sammy 21736@/talks/discussions Guys I'm in talks now to direct a documentary on a famous person who is dead now.I'm new to the whole documentary world. Whats the word on using older footage,pictures or sound related to the person . The family has some unique media we could use, but would more likely would need to use different resources that are available outside the family. More likely will also talk to an attorney this week, but like to get some input from filmmakers here who may have used that type of media before /Thanks for any input

Citrix Podio start paywall and lockdown of free accounts Wed, 19 Dec 2018 07:53:06 +0000 RoadsidePicnic 21160@/talks/discussions Project management and collaboration app Podio just announced they will place a paywall on free accounts starting January 3.

Formerly, the app had a limit on free "Organizations" of five people and some integration functionality.

The new paywall will put a limit of 500 "items" on free orgs across any workspace or module, after what the accounts will enter in edit only mode and effectively locked out of data in 30 days.

The rule will apply to new accounts from January 3 and existing accounts from January 19, as per email notice.

Wedding Videography Mon, 17 Jun 2013 14:49:32 +0000 Sph1nxster 7279@/talks/discussions My wife and I have set up our Wedding Videography business in the North-East of Scotland for just over 2 1/2 years now. Although we still have a lot to learn, we believe we have managed to bring to our area a much more filmic approach to Wedding Films and have had the pleasure of working with wonderful couples who have been quick to recommend us to others. We also have won a recognised Wedding Industry award for Scotland which was certainly unexpected this year.

Thats the credentials out the way..... I wanted to start a topic that could act as a powerful resource tool for anybody wishing to enter into Wedding Videography. A collective center of useful tips, past experiences and success stories by way of sharing inspiring films from other members. This could be useful then for someone perhaps wishing to start filming weddings, or perhaps someoe who has been given that difficult challenge of filming their friend's wedding and doesn't know where to start. Useful also to those that have been doing it for years and are looking for some inspiration and a fresh set of eyes that newcomer's bring to the table.

With this in mind, I wanted to share the trials and tribulations we have encountered over the last year or so, the bad decisions with equipment we made and the ones where we got it right. Of course I add the caveat of everything I write being my own opinion and may of course not work for you. Every area in the world has accepted styles of what a Wedding Film should be, and what maybe works here doesnt necessarily work elsewhere. My focus in the business is the Techinal side, therefore I will only share my experiences and opinions with the equipment. As for the running of the business and interfacing with customers, maybe someone else will go into that.

We started in the business because we saw a growing demand for Wedding Films in our area, and yet not enough people to meet that demand. In our local area exists some guys who had been doing it for many years, and were able to provide a very traditional approach to filming a wedding, but there were not a lot of companies that would cover the day with a more cinematic flare. This need combined with my wife's insatiable appetite for watching wedding videos created our business.

We filmed our first wedding with a Panasonic SD-700 and a Panasonic SD-900. Fantastic camcorders for our first time. (We have changed cameras quite a few time before we ended up with GH3s.) We filmed a lot, maybe a lot more than we needed but we made sure we got everything we needed. We arrived early and left much later than we had planned for, but overall we are still delighted with our first film we put out. We used a RODE Videomic for the sound and generally this worked well. Where it was not so good, was when we used it directionally over one of the guests tables during the speeches. Had one of the children at the table sat somewhere else we might have picked up more of the Grooms' speech but the lesson learned was that always get your mics as close to your subjects as possible. Buy a Zoom H1, a little stand, and place it in front of your people on the top table. Sync later on and now you are free to focus on the shot and not worry about the sound. Want to be even more professional, get a wireless mic set up like the sennheiser G3 wireless kit. Mic your groom and feed the sound direct to the camera. Now you can monitor the sound through the camera.

One of the other lessons we learned at our first few weddings was how important it is to be FAST. Using tripods all day for every shot is going to make you slow. If you are not slow, then you will be squint (not level). We quickly learned that a Monopod with the added stability of some little feet was going to be our solution. Have a look at this topic....

This allowed us to be quick but not at the expense of stability. In my opinion there is no excuse for going handheld all day, unless you are going for that specifically "documentary" type style. We still use tripods, but only for the Live stuff. Ceremony, Speeches and the evening dance. However we have other cameras that we use on monopods during these times and the tripod stuff is mostly used as a fall back shot (a shot to cut away to when you don't have anything else). Don't try to save money on tripods, a £35 Hama job is going to be a struggle and just bite the bullet and go for the well-known names. We use Manfrotto, not to say that they are the best, but it happened more organically. We bought a manfrotto tripod and then when we got quick plates for all our cameras we then wanted to make sure all the other tripods had the same quick release mechanism. You need to be able to go from tripod, to monopod and then back to tripod fast. So if you do buy lots of different brands of tripods or monopods, you are going to have to buy lots of quick release adaptors. Such as this one.....

You will need Lights, whether you go for the fill the room with light tactic, or maybe the more subtle approach, a good light is going to give your footage the added clarity it needs. Handycams and low-light are a disaster without good light. Just search for video LED light and make sure it has at least 160 LEDs or above for a reasonable amount of light. Watch out for size though, if you want it mounted to your camera hotshoe, dont go too big. If you intend to put it on its own stand, then think about how you are going to connect it, power it and operate it.

Backups, backups, backups. Always think, what if this doesnt work? Have another camera running, use one more sound recorder. Take plenty of batteries, cards and more cameras if you can afford to. Dont go small with cards, if you can afford it, save yourself a lot of hassle by buying big (64gb) and trusting a good name like Sandisk. Brandless types make me very nervous.

Putting equipment aside, there is only one bit of advice I can offer that is more interpersonal related. No matter what happens on the day, try your best to stay calm and in control. Nobody wants to see the video guy getting stressed while he screams at the guests to just hold still for one more second. Things will break, shots will go wrong, photographers will get in the way, but through it all you need to be relaxed and able to deal with whatever is presented to you. (I'm still practicsing this bit :S)

Well, im going to leave it at that just now and see what other contributions we get. I joined this forum about a year ago and it has been my one stop shop for help, advice, information and inspiration. I hope that maybe I can pass this on in some way to someone else who was in my same position.

Lectrosonics UM250b too powerful transmitters Sun, 19 Nov 2017 03:00:54 +0000 IronFilm 18269@/talks/discussions Lectrosonics UM250b are legal in NZ, but illegal in Australia! :-o (because it is 250mW. Compare that to say the very popular Sennheiser G3, which is 30mW!)

So yeah, I can't promise it will be illegal in your country (as it might be legal like it is for me in NZ), but hey, throw caution to the wind and get yourself one anyway! 

How much audience are willing to pay to watch a Vimeo On Demand indie feature film Sun, 01 Oct 2017 12:47:15 +0000 apefos 17876@/talks/discussions Imagine common people who do not work with video/film production, a typical audience who likes to watch movies and series.

in NetFlix, people pay a monthly fee and can watch lots of movies and series, so the amount of money for each movie or each episode can be very small.

In Cable TV people also pay a monthly fee subscription and can watch lots of movies and series, so the amount of money is small for each one also.

In cable tv there is also on demand service to rent movies, but for famous blockbuster releases which gets lots of attention from the masses.

There are pirate sites allowing free torrent movies download (but illegal, you can be arrested if authorities track and get your ip number).

in DVD and BluRay rental in location stores, people pay for each movie, but this business model is becoming obsolete.

So, how much money people are willing to pay for rent or buy an indie film in Vimeo On Demand? What do you think?

Vertical video revolution Thu, 10 Aug 2017 04:39:45 +0000 Oblikovalnik 17490@/talks/discussions Help!

I need good arguments or an elegant solution if somebody has had the same problem.

A client just asked me to do a vertical video campaign -supposedly vertical videos are getting better performance on social networks...

I googled and got THIS;

and this, and there is plenty more..

It looks as they all agree that vertical video is the way of the future ( gulp ).

I know it will be limited to phones only, but the sole idea makes me scared.

Will we have to fight for horizontal on every commercial project? Will we all have to shoot central composition and do the phone versions of EVERY video? Are u already doing it?

How do u approach this issue?

Thx in advance.


Should I work for free? Excellent flowchart... Wed, 13 Jun 2012 05:37:53 +0000 Mark_the_Harp 3564@/talks/discussions Thought you'd enjoy this, which I found at the site of a wonderful photographer (she's the boxer in that early GH2 film you might have seen).

Applies to musicians, too!

You can also see her photography at

Is there a point to shooting an indie feature film in 4K?? Thu, 09 Oct 2014 09:52:13 +0000 IronFilm 11525@/talks/discussions I was just wondering about 4K myself for a indie film I'm the DoP for.

As a DoP I see 4K as falling solidly into the "nice to have" camp, but also being very non-essential (at least for now, this will change with time). So I really don't mind hugely either way, to have 4K or not. There is other more important considerations to take care of first.

But maybe there is an extra point to 4K that I'm missing when viewing it solely through my DoP eyes.... and that is marketing!

Might it make it easier for the producer/director to sell afterwards if it is a "shot in 4K" film? I thought I read somewhere that there are content providers (for instance Amazon who announced they'll be filming all their created content in 4K) who have a lack of 4K content and thus could pick up indie 4K films simply as "4K fillers"? It is after all very common to read consumer articles about the lack of 4K content out there.

Wedding Photo Fri, 06 Jan 2017 10:38:08 +0000 Wedding_Photographer 16293@/talks/discussions Hello, I have a quite "simple" question (maybe the answer won't be so simple). If you want to open of wedding photography business in USA, what do you have to do regarding to the law ? Should you register yourself somewhere ? I guess you probably have different possibility ? Do you suggest one better than an other one for a new company ? I m planing to open a wedding photography business with no studio. And I have read some article regarding taxe that you should paye or not , depending if you sell some object (like a wedding book), but didn't really understand every thing...

The Sorry State of Youtube HDR Video Thu, 17 Nov 2016 06:41:10 +0000 markr041 16059@/talks/discussions HDR video is a big step in quality, with much better color and dynamic range than the current REC709 standard. And, it is possible to shoot videos with existing consumer equipment and edit them in HDR (e.g., Resolve). Moreover, YouTube recently made it possible to share HDR videos, publishing the requirements for the video, which conform to the basic HDR standards. They even provide instructions how to inject metadata to inform YouTube the video is HDR. Nice.

When you upload the correctly-spec'ed video YouTube also converts it to an SDR version, so people without HDR capabilities can see the video in a reasonable way. Otherwise an HDR video in SDR will look very washed out. This is also nice.

Here is an HDR video (10bit, 10+ stops of D, 4:2:2, REC202 color gamut) not converted to SDR because it does not have metadata that YouTube recognizes:

You are seeing it in SDR of course, so it looks faded - no contrast or color. If you could switch your viewer to HDR mode, the video would then look great in HDR.

An HDR video with the correct metadata, however, will display nicely in SDR, because of the conversion by Youtube. This is also an HDR video, same specs as above, but with the correct metadata so that YouTube has converted it to SDR:

It looks nice and colorful on your SDR screen, but it is REC709 all the way (8bit, 4:2:0, limited color gamut, 5-6 stops of DR).

Here is the bad news: so, how do you see the HDR version? If you switch your TV/monitor to HDR mode will you see the video in HDR? No. You need to have YouTube show the HDR version instead of the SDR version. But there is no way to do that - there is no option to choose the version - HDR or SDR - in the YouTube player.

Does that mean you cannot see the HDR version? No. There is one way, and one way only: Buy the new $69 Google Chromecast Ultra. It will play HDR YouTube videos in HDR, on any wifi-enabled HDR TV. No other device will do that - not the Amazon stick, not any Roku, nothing. It is also possible that Google has made a deal with Samsung (license fee) so that the YouTube player on some Samsung HDR TV's will play YouTube HDR videos in HDR, but this is not confirmed.

As someone on this web site might say, capitalism is so predicable - Google is not around to help us share videos, it is here to make a profit.

Crowdfunding Sat, 26 May 2012 08:11:25 +0000 Vitaliy_Kiselev 3359@/talks/discussions This topic will be about various crowdfunding realted skills, etc.

Interesting related information

Crowdfunding Bible book:

Interesting aricle:

How Much Money Does a Cinematographer Make? Fri, 01 Jul 2016 11:42:40 +0000 MikeLinn 15304@/talks/discussions

Things to Know Before Starting a Photography Business Tue, 21 Jun 2016 21:22:42 +0000 MikeLinn 15263@/talks/discussions

Paying Crew Sat, 26 Mar 2016 09:40:46 +0000 MikeLinn 14878@/talks/discussions

Rates for commercial licensing Sat, 20 Feb 2016 05:17:13 +0000 dtr 14618@/talks/discussions Hi forum,

As a media artist I received a request that is out of my usual domain. A major USA content licensing bureau contacted me about the use of a video registration of one of my artworks that they saw online. Their portfolio includes the biggest international brands. They want to use my footage in a commercial for a 'major electronics manufacturer' (which they won't disclose until terms are negotiated). They're offering royalties but I'm clueless about what are realistic rates in this business.

Does anyone have insights on what a "one time license fee for up to 10 seconds. Usage will be for 2 years, All Media, Worldwide." should earn me?

(Btw, footage is shot on hacked GH2 ;)

Thanks for all input, dtr

Corporate Video Tutorial - Stigmas Sun, 22 Feb 2015 00:58:02 +0000 MikeLinn 12424@/talks/discussions

Need advice for a crowdfunding pitch video Sat, 23 Jan 2016 13:09:22 +0000 Adam_Mercier 14479@/talks/discussions Hello all, I would need some advice on a crowdfunding video, could you help me improve our video?

The color timing is not done, and the voiceover is placeholder, but is the general structure working for you? Do you feel like we should give more technical details about the product on the video? Thanks for your time


First feature film:- Should everyone get profit share? Mon, 11 Nov 2013 00:13:32 +0000 azza_act 8735@/talks/discussions Hi guys, I'm shooting my first feature next year and we have everyone lined up ready to go. Crew (mostly film students) and cast (non union). We are shooting this in Australia. We don't have money in the budget to paid anyone since being a low-budget film. The budget in total is around $40,000. That's including everything from pre-production through to post/distribution. But now, we have an actor (supporting role) wanting payment in "profit share' form. No one else has asked for pay so far, from both crew and cast. As the director/producer, what's the best way to navigate through this? Should everyone get profit share who's involved? We highly doubt this movie is going to make millions and any cash we do get would go straight back to the investors and our next feature. cheers

Charge for filming Childrens Parties Thu, 14 Jan 2016 02:49:34 +0000 lmackreath 14430@/talks/discussions Morning all,

I have a full time monday to friday job but recently I have been making some pocket money filming weddings and now have been asked to film childrens parties for a local party organising company. The job would entail around an hour to two hours work filming the actual party and then probably on evening or two editing the piece at around 4-5 mins with music. Ball park figures of what I could/should charge for such a service ? (uk based)

Vimeo On Demand Tue, 12 Mar 2013 09:41:32 +0000 Vitaliy_Kiselev 6381@/talks/discussions

Vimeo today launched its open self-distribution service, Vimeo On Demand. Available now to all Vimeo PRO members, Vimeo On Demand empowers creators to sell their works directly to their audiences and retain a 90 percent share of the revenue after transaction costs. In addition to its creator-friendly revenue share, Vimeo On Demand gives creators the flexibility and control to choose their price; select country-by-country availability; customize their page design; and offer content on Vimeo, their own website, or both.

"Vimeo is committed to empowering creators with tools to display and distribute their work in beautiful HD quality," said Vimeo CEO, Kerry Trainor. "With the addition of Vimeo On Demand, creators can now use Vimeo to control the way they earn revenue and retain a significant portion of the proceeds."

Videos purchased through Vimeo On Demand are accessible across devices, connecting creators to Vimeo's 93 million monthly viewers across desktop, mobile (Android/iOs/Windows), connected TV devices (Apple TV/Roku/Google TV/Xbox Live), and major smart TV platforms (Samsung/Panasonic/Phillips).

"What used to be a confusing and labor-intensive process is now open and simple with Vimeo On Demand," said Blake Whitman, Vice President of Creative Development. "We always strive to provide our community and visitors with the best experience possible, and this opens up a new world of viewable content and support for creators. We are proud of this first phase of Vimeo On Demand, and we're already working on another suite of creator-focused features to release in the near future."

Vimeo On Demand will launch at the SXSW Interactive + Film Festival with a screening of It's Such a Beautiful Day, the latest work by Academy Award-nominated animator and self-distribution pioneer Don Hertzfeldt. The film will screen on Tuesday, March 12, at the Vimeo Theater at SXSW from 11:00 a.m. – 12:30 p.m., and will be followed by a Q&A with Don Hertzfeldt and Vimeo CEO Kerry Trainor. Vimeo is thrilled to offer the newly re-mastered and expanded version of It's Such a Beautiful Day, which brings together the entire tragicomic story of a troubled man named Bill, for $2 rental or $6 sale, exclusively through Vimeo On Demand.


VHX, digital video distribution platform, now public Mon, 10 Mar 2014 22:27:20 +0000 maxr 9841@/talks/discussions image


When we launched VHX, we never imagined we’d get to work with creators like Kevin Spacey, Dave Grohl, Ira Glass, and Aziz Ansari.

We’ve been in private beta the last two years, helping distribute feature films, documentaries, TV shows, comedy specials, concerts, lectures and more. We’ve helped launch Camp Takota, Upstream Color, Mistaken for Strangers, the Oscar-nominated The Act of Killing, and many more. VHX now has over 300 titles available for sale, over $3M in gross transactions, and almost 500,000 customers worldwide.

VHX is now open to the public. Anyone can sign up and start selling immediately. Our internet-video-shaped doors are wide open:

We are lowering our pricing. VHX is free to sign up and use, and we charge just 10% + $0.50 per transaction (down from 15-20%). No extra charges for credit card processing or anything – that’s everything. Transparency? Transparency. If you’re an existing publisher this pricing will be effective as of March 1st.

Anything that used to be sold on DVD can be sold on VHX. Our platform works for a lot more than just film and TV. Faith, fitness, lifestyle, education…the list goes on. VHX also works for organizations both big and small: individuals, distributors, studios, networks, and more. Make a site to sell your work, distribute your project, and own the relationship with your audience. VHX is the technology platform that lets you run your own iTunes or Netflix. Your digital copies replace the old physical, anywhere in the world.

how much to release for free Mon, 20 Jul 2015 13:31:58 +0000 peternap 13421@/talks/discussions I have always had a targeted clientele. I know who's going to buy it and I make an edited copy for them. I film a lot of protests, rallies, political meetings, etc and am thinking of a new approach for public events I'm not contracted to do. What I have in mind is doing a short...maybe 3 minutes. That goes to the group to use and making the full audio available on my site. At the same time having a full dvd, some 3 hours long of what happened that day for sale. Any ideas or opinions?.

The full costs and income of a £1 million indie film Sun, 17 May 2015 00:56:11 +0000 MikeLinn 12996@/talks/discussions Costs

  • £775 Story, Rights & Continuity
  • £91,046 Cast
  • £19,014 Supporting Artists
  • £90,332 Production Staff
  • £93,245 Art Department
  • £32,070 Wardrobe
  • £16,782 Make-up / Hair
  • £53,371 Electrical
  • £58,580 Camera
  • £16,882 Sound
  • £77,918 Travel / Transportation
  • £28,670 Hotel / Living
  • £70,111 Location
  • £27,343 Overtime / 2nd Camera
  • £482 Digital Stock & Transfers
  • £25,507 Music
  • £83,929 Post-Production
  • £9,307 Insurance
  • £2,556 Legal & Clearances
  • £7,705 General Expenses
  • £2,900 Publicity
  • £750 PACT & Training Levy
  • £15,947 Fringes
  • £825,222 Total


  • £158,000 UK tax credit
  • £88,259 TV
  • £45,601 UK theatrical
  • £34,942 VOD
  • £32,667 Airline
  • £15,594 Germany theatrical
  • £12,753 Greece
  • £9,374 DVD
  • £1,131 US screening
  • £459 UK screening
  • £275 Speaking fees
  • £399,055 Total

How to Get Your Work Seen by Clients Thu, 30 Apr 2015 08:35:51 +0000 MikeLinn 12898@/talks/discussions

How do you determine your rate? Wed, 08 Apr 2015 17:20:04 +0000 Gardner 12762@/talks/discussions I was wondering what some of you charged, or took in account when charging, in regards to your half day and full day rates. I recently began talking with a client regarding a documentary and so far I've just been asking many questions just to gauge what he wants for the project and how I should charge him. When talking rates, I understand that you should always ask a lot of questions first and never throw out a number right away, since you never really know how much work you're going to really be doing or how long the actual production will take.

Guarantee Yourself a Film Career after Film School Mon, 16 Feb 2015 21:44:51 +0000 MikeLinn 12400@/talks/discussions

Digital Marketing my latest video project Sat, 07 Feb 2015 11:16:49 +0000 Brian_Siano 12333@/talks/discussions Reposted from my website,

I've worked on two video projects that turned into actual, physical DVDs: A Doll's House, produced by Kyle Cassidy, and Curio's Romeo and Juliet. I taught myself Adobe Encore by designing the menus and assembling the feature and extras into an attractive DVD. Kyle did the packaging for A Doll's House, and I did the packaging for Romeo and Juliet (using his poster photo as the front cover). It was worth the work. It's one thing to put a video onto YouTube and have people post appreciative comments... but it's a great feeling to hold something that looks and feels like a professionally-made product.

But it's an expensive feeling to earn. We used Discmakers for our projects, and although their work was of excellent quality and performed at a competitive price, it costs to make DVDs. To manufacture about 300 DVDs, including a basic package, could run between $700 to $900. This is a very rough estimate, because Discmakers offers a lot of options, and the costs adjust if you decide to get a plastic case or a cardboard eco-case, or just an envelope, or whatever. The nice thing is that economies of scale kick in fast: if 300 DVDs might cost you $900, (that's $3 per), making a thousand DVDs is only two or three hundred more, so your per-unit cost drops very quickly. In some cases, even a really nice DVD package could be made at a dollar-per-unit, but you'd have to make about two thousand of them, and pay between $1500-2000. And if you're selling them at $20, that's a huge profit margin.

But this is still a problem. Because now you have boxes of DVDs to get rid of. You have to sell them, market them, set a price, and very likely, you'll have to be the schmuck paying postage and shipping and mailing them out to people. You wind up wishing for two ways of distributing your video: perhaps a service that takes the orders and manufactures the discs upon demand, or pure video-on-demand via a service like Netflix or Hulu. This is when you start to understand why the entertainment industry loves digital distribution so much... and why it's a terrific opportunity to us free-lance videographers.

I decided to test digital video marketing with my ambient video project, Wissahickon Moods. The video is a collection of shots I took in Philadelphia's Wissahickon Creek, which I edited to a rough outline of themes, and scored using music by composer Chris Zabriskie. The main reason for this was that the video was pretty much my own creation; other than Chris's music, acquired through Creative Commons licensing, the material was mine and mine alone.

I found two companies that offered made-to-order DVDs. I decided to not go that route for several reasons. One company had some terrible customer reviews. I could have tried the other company. But it occurred to me that customers might feel more secure in purchasing something from a known retailer, rather than a relatively unknown DVD company. This is not a completely rational and hard-headed market analysis, I admit: but I can always try that company in the future.

Instead, I looked into the major digital distribution channels, such as Amazon On Demand, Netflix, iTunes, Vimeo, and others. Most of these required a lot of advance work and some degree of money. Vimeo's paying service requires purchasing a membership at $200 a year, which is very cheap. On the other hand, Apple charges close to two thousand dollars for the privilege of letting them stream your video onto iPhones, and you have to have four other videos and a history of making good product. Netflix just isn't an option for an independent filmmaker without a studio distribution deal.

I found three outlets that showed immense promise, and I was able to place my film with all three for next to nothing but work. VHX and Kinonation had no up-front costs, and Amazon Createspace was extremely cheap.

VHX ( was the first. This is a distribution company of streaming hi-def video that works with a lot of indie filmmakers: I think I heard about it because they were handling a film David Cross was working on. They seem to accept almost anything-- they're not undiscriminating, just flexible-- and they offer their materials in "packages" akin to a DVD with extra features. You upload your materials, and set up a page for your feature, and you're up and running. They take about 10% of the sale plus fifty cents, which is a small price to pay. (I should mention that, in the first month Wissahickon Moods went on sale, VHX moved six copies. That earned about sixty-nine dollars, and VHX's cut was only nine bucks.) They also recently set up a deal with Roku, so that's a bigger market to reach, and it means more customers for you.

Kinonation ( is a different story altogether. Kinonation takes your materials, and then attempts to market it to larger distributors. Since these include Amazon On Demand, Xfinity, and Hulu, Kinonation can get your material before some very large audiences used to streaming video. There are no up-front costs, but there is a LOT of prep work. Lots of data to put into their system, like IMDb links, caption files, language data, and more, plus several differently-configured thumbnails. And your video cannot be the usual MP4s you've been uploading: Kinonation requires high-bitrate DNxHD Quicktime files, which are massive. This is because they recompile your materials for the various outlets they deal with, and having a high-quality original is a must. (My one hour video was more than sixty gig in size. But their upload interface is efficient and allows for interrupted transfers.)

Amazon Createspace ( is how so many people are self-publishing novels, and Amazon's expanded into video distribution as well. It's a combination of streaming video and made-to-order DVD sales. You have to compile your materials onto a DVD, upload the ISO file to Createspace (or mail them a DVD), provide some designs for DVD covers and thumbnails, and you're good to go. You can market your video three ways: through Amazon, through your Createspace site, and as video-on-demand.

But there's a few things to know in advance. First of all, your video cannot be hi-def. It has to be standard-definition, 720x480, at best. Createspace accepts only single-layer DVDs. Also, the DVD itself can't have more than one video file on it. Createspace takes the DVD and extracts that video for streaming, so you can't sell a DVD that has a film and a making-of documentary. Your DVD has to be No Extras.

After you send Createspace your ISO file, you'll have to wait up to 10 days before they finish their review. At this point, you are asked to purchase a proof to review. This costs perhaps $10-12, so it's not a huge cost, and checking a proof of the disc is always recommended.

What about the money? Well, Createspace takes a much larger piece than most. Let's take Wissahickon Moods as an example. The DVD costs $15. If it's sold through Amazon directly, they take $7.80. If it's sold through my Createspace page, they take $3.30. If the film is sold or rented through Amazon Instant Video, they take 50%. I don't know how you feel about these percentages, but I figure that offering sales to Amazon's massive customer base is worth the cut. It's certainly better than not selling to them.

And if you're interested in seeing the project...

Current Availability:

Trailer, YouTube:

Trailer, Vimeo:

Hi-def Streaming via VHX:

DVD for sale via Amazon:

DVD for sale via Createspace:

Wedding photography is expensive because it’s a luxury Wed, 04 Feb 2015 04:17:24 +0000 Vitaliy_Kiselev 12311@/talks/discussions

I’m defining luxury as something that you want or would like to have but don’t actually need. The Craigslist poster wrote, “They are ripping people off for all they have! Why when you want to get married it costs you AT LEAST 15 grand after all is said-and-done? Its such CRAP!! I love all you $ 3,000.00 photographers out there but i think your prices are WACK.” Immediately, I would like to point out that there’s a distinction between getting married and holding a wedding. Getting married is something you may need; holding a wedding is something you want. The poster is wrong when she states that getting married is expensive: relative to the price of a wedding, it’s quite affordable. For instance, if you live in Toronto and wish to marry, your total expenses would come to under $400, including the license and marriage officiant. I’m aware that the writer is from Puget Sound, but I doubt getting married in Washington is much more expensive than in Ontario. In any case, despite her choice of words, the writer was referring to holding a wedding.

Weddings are expensive because having a large catered party is a luxury. When you remove the ceremony from the rest of the day’s archetypical activities, you’re left with the greater portion of that hypothetical $15,000 bill. Your costs shouldn’t rise by much even if religious obligations require the ceremony be held at your respective house of worship. The major expenses are everything that isn’t part of the official ceremony: the venue(s), liquor and multi-course meals for guests, a multi-tiered cake, flowers, decorations, entertainment, your wardrobe, makeup and hair, accommodations, and, given the nature of this article, your desire to have a wedding photographer document the entire affair and do so with exceptional artistry.

Luxury brands do not justify their prices with complex breakdowns of their costs. For example, when someone walks into a Chanel store and considers buying a handbag, the salesperson isn’t going to relay the cost of materials, labour, freight, lease, marketing, etc., to justify the price. What they’ll do is sell the brand and its story, its exclusivity and the status it imbues, the timeless design, impeccable craftsmanship, customer service, and its ability to retain value longer than other less exclusive brands. All things considered, it would still be a frivolous purchase—because no one needs a Chanel anything, even among people who need a handbag—and most buyers of luxury goods know this. Unfortunately, when planning a wedding, some people, such as the Craigslist poster, never come to this understanding.

Consider the longevity of these expensive services. The alcohol, food, and cake get flushed down the drain (quite literally). The venue and accommodations will serve as faint backdrops to your memories. The flowers will wilt and decorations, tossed away. The entertainment will be a ringing in your ears the following morning. Your makeup will be washed away and the hair slept on. Your wedding dress will remain, but there will never again be a practical occasion to wear it (so donate your dress). Of all these unnecessary, impractical, and conspicuous expenses, the photo and video documents hold the most utility. Their value increases with time, having an inverse relationship to your recollection of the day.

When wedding photographers choose to acknowledge the question with detailed cost breakdowns, they put themselves and the profession as a whole at a disadvantage. Defending your rates in such a manner is an implicit acknowledgement that they are indeed unreasonably high and, worse, that your abilities don’t speak for themselves. Wedding photography is a luxury service and there is absolutely no imperative for you to provide customers with an audit. Such an analysis may also put you at a disadvantage with customers who question your margins (since those who do only care about the bottom line anyway) and your perfectly legitimate reasons can be misinterpreted as excuses.

I would like to make a proposal to my fellow wedding photographers: Stop justifying your fees using cost breakdowns. It cheapens your work. Treat wedding photography as the desired luxury service that it is, not the basic necessity that budget hunting couples wish it to be. Good wedding photography is a luxury service for a luxury occasion that commands luxury prices. As the saying goes, “You get what you pay for.”

Online Video Distribution: Best System? Sat, 03 Jan 2015 09:21:20 +0000 Brian_Siano 12086@/talks/discussions I have a hi-def project that I'd like to sell through online distribution channels. When I research things like Amazon Createspace and Vimeo, I keep coming across drawbacks: Vimeo'd require buying a pro membership at $200 a year, which I can't afford at this time. Createspace limits me to DVD resolution, and some reports have it that it doesn't get a lot of traffic anyway. Amazon On Demand would be marvelous, but I can't find how to make the product available that way. Another site, Kinonation, looks interesting, but I don't know how well it can market the video.

Does anyone have any insight into the best system to market my video?