- Not necessarily. A full-time videographer working inside a studio incurs higher overhead and this expense is passed on to the consumer. On the flipside, the video professional probably spends more time taping and editing than his part-time competitors. Many good videographers can be found who don’t own studios or production companies but work for them, or have their small business on the side. Shop around, examine their work and make an informed decision based on the quality of the examples they offer you. Never book a videographer just because he has a studio or because he’s a friend of your cousin’s mechanic.
- There is no minimum time. Of course, being in business for a long period of time could mean that he has a good reputation and that he has a good understanding of event photography. The more experienced are usually in higher demand and command higher rates. However, new production studios pop up all the time, usually with lower prices and fresher ideas. Never disregard a videographer on the grounds that he has less experience. He could be the next Spielberg. Remember, everyone has to get his start somewhere. (If he has no experience at all, however, I’d keep looking). If you have a tight budget you’d still want someone who has a dozen weddings or events under his belt. You also might want to see which associations he belongs to, if any. This would be an indication that he has a commitment for staying on top of current trends as well as expanding his knowledge of the video field.
- First, let’s discuss tape formats. There are many different good formats to choose from. S-VHS and Hi-8 are the most popular of the satisfactory ones. In addition to these there are BetaCam and DV and others less used. None of these is the best or the right format. Anyone who tells you otherwise is overstating. Each has strengths and weaknesses, too many to point out in a simple FAQ. Make your decision on the basis of the quality of the videographers’ work. Take a copy of the various competitors home and watch it on your VCR. Compare the work on your TV to see which looks best. Be advised, though, that with the high-end formats like BetaCam, you’re going to pay a higher rate. You must determine if the difference in picture quality is worth the difference in price.
- Let’s discuss the term broadcast quality. Broadcast quality is an FCC term that expresses parameters of electronic signal strength, frequency and so on. It is strictly a term regarding the technical aspects of cameras, recorders and broadcast equipment. It bears no relationship with picture quality. A shaky, out-of-focus picture can be well within broadcast quality standards. It is a badly overused term many videographers use to describe their equipment when a description of the fruits of their labors would be a more honest approach. Again, examine their work. That’s the basis upon which you should make your choice.
- You will often see broadcast quality coupled with the popular phrase, "We use only 3-chip cameras." 3-chip cameras are, indeed, among the best, as is BetaCam. Bear in mind, however, that not everyone’s budget allows for the use of high-dollar equipment, and not everybody’s eye can see the difference. Besides, good equipment won’t enhance poor videography, it just makes it easier to detect.
- Regarding equipment, the last element is the editing system used – if one is used at all. Some edit in the camera and deliver the tape at the end of the evening. Win, lose or draw, he hasn’t even seen the result himself, and has no ability to repair or remove flaws! There are two kinds of editing systems. They are called linear and non-linear. In linear editing the video picture is edited by re-recording from the original tape to another, removing glitches and bad takes, and sometimes rearranging the order of scenes as editing progresses. It is a good system, far better than camera edits, and has been in use since before The Sonny & Cher show was first recorded on tape. Non-linear is relatively new, owing to the advances in electronics, and is visibly superlative. The method here is to release all the video images into a computer and instruct the editorial changes in the computer’s memory. The final cut, or version, is then released onto a brand new videotape. Accordingly, many pleasing audio and video effects can be achieved, the entire production can be lengthened or shortened almost by the push of a button, and the resulting digital video quality exceeds that of any other editing system. Hourly rates on such equipment are higher but the savings in time usually result in a same-price improvement.
- Fancy effects and graphics is the most overused, overrated come-on used in advertising. Anybody with a modicum of equipment can do literally hundreds of them simply by pushing a button. They are pointless and distracting and are by no means entertaining! You aren’t buying sizzle in a product, you’re buying a priceless recording of a very special once-in-a-lifetime event. If your videographer offers you good composition, steady camera work and clear audio, he’s setting himself apart from his competition. The next time you’re watching a movie, turn off the sound and watch the transitions from shot to shot. Note how smoothly the dissolves, fades and cuts take you from one time or place to another. If your potential videographer’s work doesn’t do that you may want to consider using someone else.
- Good audio is crucial to good video, and this is probably the most overlooked aspect in all of event videography. If you’re getting married, demand the videographer use some sort of additional microphone system. Preferably a wireless lapel mic. If musicians and readers are performing at the wedding, you may want to request that they have microphones placed near or on their persons for clarity. A wireless lapel mic is preferable but whatever assures good quality audio is satisfactory. Imagine the disappointment in getting your wedding tape and hearing only low sounds in a hollow sanctuary, even on close-up shots! If extra mics come at an extra charge, they are well worth paying for since NO on-camera mic will do this job appropriately. If your videographer doesn’t offer them, keep looking.
- Just maybe. This is where having the 3-chip camera pays off! For the most part 3-chip cameras perform better in low light levels than anything else. Even so, in a large room only the candles and the face of those very close will show, unless there is adequate light coming from other sources such as stained-glass windows. The dark is dark and video cameras abhor the dark! They tend to strain to increase the video gain and therefore make the picture grainy. No video looks so good as well lit video. When you see Hollywood movies of people performing in what appears to be the dark, rest assured that it was not dark, they were not shooting video, and you are being fooled by a quality of light, not a level of it! A few years from now the above statement may not be wholly true, but if your wedding video is expected to be important to you, plans for a wedding design with some illumination would be in order.
- There are typically more weddings on a given date than there are videographers to shoot them, so the answer is yes, even the not-so-great ones book that far in advance -- sometimes ever further. When you find somebody you like, sign him up! Just remember, the best in the business get booked first. If the one you like is already booked for your date, ask him for a recommendation. He certainly would not direct you to someone he wouldn’t choose. Many good videographers don’t advertise and rely on referrals.
- Absolutely! The purpose of a contract is to instill understanding between two parties, accordingly it protects both of you from the other’s changing his mind. Make sure you understand his policy on deposits and refunds, however. Most require 1/2 or 1/3 deposit in order to hold the date, expecting the remainder before or at delivery of the finished tape. Deposits are usually non-refundable although they may give you the option to rebook a different date at no additional charge. It is important to understand that booking your wedding deprives the videographer of booking someone else’s wedding. The deposit partially protects him from your canceling and protects you from his canceling. Be sure to read the contract carefully. He will probably let you take a copy of it to have someone else read it if you feel it’s too complicated for you and he may allow you to negotiate certain clauses.
- Since most videographers deal with package prices instead of an a-la-carte service, what you’ll get in package A from AAA Video will probably be different from package A from BBB Video. This alone is confusing but ask each to explain his package if you don’t understand it. Prices may vary from $500 to well into the thousands so you should set affordable budget parameters then inquire of those videographers whose rates fall within your range. Some may even reduce the price by allowing you to delete certain services which you may not care for or trade them for services you do. You simply must ask.
- We’ve tried to give an honest answer to these all-too-familiar questions. When looking for your videographer, be sure to get references and don’t be shy about calling them! Ascertain whether the one you hire will be the one who will do the work, if not, ask why. We suggest you not deal with someone who regularly reassigns, or subcontracts work. (It may be acceptable if he becomes ill, and sometimes if he’s reputable and overbooked). When you compare, compare the results together with the price and make your decision on that basis.
We hope this FAQ helps you make an informed decision for choosing a videographer. If you have any questions or comments regarding this FAQ, send e-mail to Jon Senn.
