10 Rules of Independent Filmmaking 

1. MAKE SURE YOUR SCRIPT IS ROCK SOLID

The first thing that most established producers will ask you is, "What's the point of your story, and why is it worth telling?"

When a group of filmmakers spend months shooting a feature or short film, they often become shortsighted about how the rest of the world perceives and understands their film. To put it plain and simply, make sure that your story is CLEAR and OBVIOUS - especially the ending.

Whether the film is an eclectic experimental or a family drama, make sure that those who read the screenplay - and eventually watch the film - understand the journey on which you are taking them.

A great way to learn about screenwriting is TO READ: Novels, short stories, short film screenplays, feature film screenplays... Reading the work of other authors enriches a storyteller by allowing them to see how other authors have effectively (or ineffectively) told stories.

The general rule with screenplays is DON'T START SHOOTING UNTIL YOUR SCRIPT IS READY. Often times writers will go through draft after draft and eventually settle for a mediocre product in the interest of time. Don't make this mistake. Remember, it's better to wait to shoot a great film than to shoot a not-so-good one right now. Just don't wait forever!

IN SHORT: Story is king.

2. WORK WITH THE BEST POSSIBLE TALENT

Actors, crew members, performing artists - whomever you end up hiring to work in your production, MAKE SURE THEY ARE THE BEST CANDIDATES FOR THE JOB.

Actors
Along with a poor screenplay, the most common weakness of films is BAD ACTING. This does not mean, however, that you need to hire professional actors with years of experience and training. Quite often non-actors perform the best because they're not even trying to act, making their performance look very believable.

Whomever you decided to cast in your film, make sure that they can portray your characters interestingly and accurately. Another way to improve their performance is to WORKSHOP them for weeks before you start shooting.

Bad actors can make or break your film. Irrespective of whether you have the most talented crew members, a massive budget, the best equipment or a great screenplay, if your actors do not perform well it will be difficult to attract audiences.

Crew Members
Although you might be limited to working with those crew members who won't charge you anything, WORK WITH THE BEST PEOPLE FOR THE JOB.

If a cinematographer, music composer or production designer has a particular style that would work perfectly in your film, IT DOESN'T HURT TO ASK them to help out.

Up-and-coming filmmakers are always looking for a good project that they can be attached to. Put a package together for your film including such items as an information kit, promo reels, story boards, etc. and pitch your project around. You might be surprised who falls in love with your vision.

IN SHORT: Film is about collaboration. Find the best artists for the jobs and don't be afraid to delegate responsibilities.

3. ESTABLISH YOUR BUDGET & STICK TO IT

Anyone who tells you that filmmaking today is expensive is downright lying. Okay, maybe it can cost a few bucks, but with the advent of digital filmmaking and home editing, making a film can be very inexpensive.

Even before the digital filmmaking craze struck, filmmakers were able to shoot critically acclaimed low budget films for a fraction of what others could produce them for. Robert Rodriguez's "El Mariachi" and Kevin Smith's "Clerks" cost $7,225 and $22,769, respectively, and they were FEATURE FILMS SHOT ON FILM. And then of course they was the "Blair Witch Project" which was shot on Hi-8 and 16mm which was shot for less than $30,000 and grossed over $170 million worldwide.

Whether your budget is $10 $1,000, $10,000, $100,000 or $1,000,000, STICK TO IT. It's proven every year that talented filmmakers can make highly acclaimed films within any financial constraints.

The general rule for making a film as cheap as possible is to ASK PEOPLE FOR HELP. Everyone wants to be associated with the next "Blair Witch Project," and quite frankly you might be the person to do it. As with any fundraising, YOU MUST FIRST ASK before anyone gives you a dime, so don't be shy. There are hundreds of organizations and individuals who would consider supporting your production.

To find grants or high-net work individuals, conduct a web search for "grants," "high net worth individuals" or "humanitarians". You can also view the film grants list on this site. Remember, you lose nothing by asking.

IN SHORT: In this day and age a film can be made for any amount of money. Whatever that amount might be for you, find ways to make your film with it, even if it requires swallowing your pride.

4. AVOID THE MOST COMMON MISTAKES

Bad sound, weak screenplay, bad acting, visible mistakes in footage, bad budgeting… If you take every point from this article and flip it to the negative, it's probably a good list of the most common mistakes that filmmakers make. Avoid them whenever possible.

As many of your mentors will tell you, the best way to learn what to avoid is to make the mistake yourself. We're not saying to start making all possible mistakes in your film, but rather to learn from those that you, your friends or other filmmakers have made.

IN SHORT: If there's a mistake to be made, it's already been made. Do your prep work. Plan and collaborate early on to avoid making mistakes in the future.

5. GET YOUR CLEARANCES DONE - EARLY

Generally speaking a film that is not cleared is NOT DISTRIBUTABLE. This means that if your film infringes on the rights of others, you will not be able to screen it at film festivals or commercially distribute it - this applies to both feature films and short films.

The best way to make sure that everything is cleared is to DO THE LEG WORK EARLY. Quite often filmmakers pursue a production and four months into the project they're told that someone else owns the copyright of their film title or even the story concept. There's nothing worse than to be told that you will not be able to finish your film because of something like this.

The most common uncleared material in a film is the MUSIC. Filmmakers often fall in love with a particular commercial song and simply through it into their final mix thinking there won't be any repercussions. Clearing such music at a later date can be very costly or even impossible. The best thing to do with music is to purchase stock music, use royalty-free music or to hire a composer to write original music.

You can find such items on the web if you search for "royalty free music," "music clips" or "sound clips."

One thing that many filmmakers don't know is that any music that was written over 99 years ago is royalty-free as long as you can get the musicians who played it to give you permission to use their version of the song.

There are several other items that must be cleared in a film production. Please visit Clearance Guidelines for more information.

IN SHORT: Make your film as if one day you plan to sell it. You never know who's going to come knocking on your door with a checkbook. The last thing you'd want is to have copyright infringement break a potential distribution deal.

6. PUT A PACKAGE TOGETHER AND PITCH IT TO ANYONE WHO CAN HELP

Whether you have a short screenplay that you want to shoot or a short film with a feature length screenplay, the best thing you can do to market yourself is to make a package and get it to anyone that can help.

Everyone on this planet is separated by only six hand shakes from every other person. Therefore, the chances are good that you know several people who can get your material to those who possess the power to give your career a jump start.

A verbal pitch is important for an artist to have - especially an elevator pitch (a verbal pitch lasting from 30 seconds to a few minutes). However, there's no better follow up or stand-alone sales tool as an informational package.

Another great way to showcase your projects is to create a web site. There are several sites on the Internet that offer free web sites and web tools that alloy anyone to configure a web site.

To find such sites, conduct a web search for "free web hosting" or "free web pages."

IN SHORT: Make a web site, buy a color printer, get some business folders and put your visions on something that you can show other people, not just tell them.

7. SHOOT FOR THE SKY

The beautiful thing about winning acclaim is that there is no set rule for it. Quite often the most unique - and even obscure feature films and short films - are the ones that take home the most trophies.

Point of the story is - AIM HIGH: you never know where or who will love your film.

IN SHORT: Even though your film might only cost $10 to make, you never know what ground it will break or award it will win.

8. SHOW GRATITUDE

Copy, credits, great meals… Gratitude is a concept that too often gets breached. Crew members often end up receiving cold left-over pizza and never see their names in the end credits, let alone get a copy of the film.

If there is one expense that is always worth it, IT'S TO FEED PEOPLE WELL. Aside from the physiological repercussions of feeding people unhealthy food, it's a great way to show your appreciation for their efforts.

Regarding credits, it's always a nice feeling to see one's name in the end credits of a film, even if they donated only a few bucks for film stock or food. Don't hold back when it comes to including names of those who helped you in the end credits. You might be surprised how prone they will be to help you again if you show your appreciation to them the first time.

IN SHORT: Be thankful and show it.

9. GET FEEDBACK

As mentioned earlier, it is very easy to get shortsighted about the story that you are trying to tell - and in the process forget about your audience.

A great way to avoid this is to constantly get feedback about your project. Whether for your outline, screenplay, directing style, casting, post production, rough-cut, final product, or previous short film, FEEDBACK IS CRUCIAL. Friends, teachers, mentors, and industry veterans pride on providing advice and often it can be integral.

IN SHORT: Filmmaking shouldn't be done in a bubble. Feedback from experts and novices alike might be the most beneficial thing that you get.

10. EXPOSURE

Art is about expression, but it is also about communication. The final challenge of a filmmaker is to get people to go see their films. For up-and-coming filmmakers their film often serves as a résumé to gain future work.

Between film festivals, industry screenings, home video distribution and broadcast, there are several ways to get independent short films and feature films exposure.

Some filmmakers set aside a budget of a few thousand dollars just so they can submit their film to festivals. Though this is not crucial, it can be a great way to showcase your work to film fans and industry professionals around the world.

Remember KEEP YOUR GOALS IN MIND. Whether you want to be a screenwriter, film director, production designer or work in any other aspect of filmmaking, you must constantly strive to achieve your goals and use your previous work to showcase your talent.

IN SHORT: Your work represents your talent. Get it out to as many people as possible and always keep your goals in mind.

http://www.amazefilms.com/film_resources/10_rules.html

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How to Get the Most from Your
Yellow Pages Advertising

A few secrets to advertising in one of the most misunderstood --and most effective --marketing tools available today.

By: Stephen Yankee
101 Washington, Suite 230
Grand Haven MI 49417
616/844-6783
syankee@novagate.com

The Yellow Pages are a terrific medium because of one simple reason: they are a directive medium (as opposed to a reactive medium --like a newspaper ad or tv spot.) In other words, people use them when they're ready to buy! Which means you can (and should) load up your ad with everything you want to say about your capabilities and services --and people will read literally EVERY word. Because for the most part, they've already DECIDED to buy, and your Yellow Pages ad is the best possible chance to get them to call you so you can CLOSE the sale!

How much should you spend in the Yellow Pages?

There's only ONE rule that applies to advertising budgets for the Yelllow Pages. And if you can afford to do this, you should follow that rule. It is, simply...have a larger ad than the rest of your competition. Because when you have the largest ad, 30 percent of Yellow Pages shoppers --motivated, ready-to-buy people --will call you first. You should be aware that Yellow Pages sales reps are notoriously close-mouthed. They won't volunteer any information about how big your competitors' ad is going to be, and will not tell you if you ask them. BUT --they will normally provide you this information if you ask them a simple (trick) question: "What size ad do I need to have the 'first position' on the page?" There is no guarantee that one of your competitors won't ask the same question, of course, but this is one way to find out what the competition is doing up to this point. Now, if you're just starting to advertise, and your competitor is already advertising with a display ad, you can leapfrog over his ad fairly easily and take the pole position by using a little strategy. When buying a bigger ad, most people double their present ad size. So look at the Yellow Pages, see what your competition is doing, and take out an ad TWO SIZES largest than the largest current ad. Suddenly, you'll be the biggest advertiser and will automatically receive more calls inquiring about your services. Which will lead to more sales. More work. More profits. More fun for you.

The extras that will help your ad pull even better...

There are two things that will help your hard-working ad work even harder. The first is using a second color in your ad. I know it costs you more, but adding a color improves readership by a factor of THREE TIMES. And speaking of borders, do something tricky with yours. Don't just have the Yellow Pages makeup people run a thin line around the ad. If you're running a marina, make it look like a length of rope; a video store --make it look like a length of videotape; incorporate your artwork into it. Make the ad as eye-catching as possible! Ask your rep for help in design, and even in writing. FOR MORE HELP...My 45-minute videotape, Yellow Pages Power! Covers many more secrets of Yellow Pages advertising and production, plus tips on how to get the very most for your money. It'll show you how we get an average monthly return of 800 percent on our directory ad budget!

_______________________________________________________________

Steve Yankee is an independent copywriter and sales consultant, and
the author of over 50 books, tapes and Special Reports on video production,
advertising and promotional topics. He can be reached by
emailing syankee@novagate.com , or writing him at Steve Yankee
Communications, 101 Washington, Suite 230, Grand Haven MI 49417.
Phone 616-844-6783. You'll find lots of money-making FREE information
on his website: http://www.syonline.com

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By: Stephen Yankee
101 Washington, Suite 230
Grand Haven MI 49417
616/844-6783
syankee@novagate.com

(A short Commercial: the following information is excerpted from my Master Video Program Secrets of Creating A Dynamite Demo Tape! More information on how to order this Prova Award-winning 55 minute production is available on our website. Thanks --and I know this info will help you in your business, as it's helped many others thus far.)

If you don't have a demo tape --or you've got one that isn't doing the job --don't feel like the Lone Ranger. A good demo tape is a rare commodity in our business, simply because we're like the shoemaker of legend. Many times we're simply too busy making shoes for other people to take the time to put shoes on our own (barefoot) children. Well, if you want to run with the big dogs instead of staying on the porch, you've simply GOT to take the time!!! Because a good demo tape, properly planned, produced and distributed can win you a lot of profitable new business.

So what IS a demo tape, anyway? Contrary to what you might think, a demo tape is not a random collection of snippets and scenes from video productions you've already shot and sold. Even though we've all cut and pasted and used these types of tapes before, for all intents and purposes it is NOT a real demo tape. Because "Demo" stands for "demonstration." It does NOT stand for "a miscellaneous collection of unrelated scenes."

The first mistake --you're moving too fast!

The first big mistake most producers make is to hurriedly throw a demo together because a client wants to see it --right now. The second biggest mistake is to grab unrelated or imperfect bits of video footage --bits that don't convey the message you need to relate to your prospect or suitably showcase your production quality --and hope, somehow, that it will suffice. It used to, back in the days when being a video producer was the only qualification you needed to work on a video; but video is no longer a voodoo technology; most everyone owns a VCR, if not a consumer camcorder, and has the basic knowledge of how videos are put together.

Far and away, though, the very biggest mistake you can make when you assemble your demo tape is to center the attention on yourself...and NOT your client.

Your demo MUST be client-centered!

Let me elaborate. I've talked to hundreds of video producers. Many of them wonder why they're not bursting at the seams with profitable jobs. Most of the time I believe it's due to a common fault: too many video producers focus their marketing efforts on themselves, their own talents and equipment, and on what they're selling...and NOT on the prospect and why he or she is buying.

I've been harping on this subject for a long time now, so by know you ought to know what I'm saying. Your demo tape MUST use what I call client-centered marketing to get people to come knocking on your door after seeing it.

Client-centered marketing is simple. All you have to understand is the difference between features...and benefits.

Features are about you and your product or service. Saying "we use 3-chip broadcast quality cameras" is a feature .

Benefits are the results that your products or services offer to your prospects

It would be far better to tell your client that their production is captured flawlessly, in perfect color and sharp focus --which is the benefit of using a 3-chip camera...than to tell them you use 3-chip cameras, and letting it go at that.

Are you with me so far? Good. Because I want you to make a real point to remember that whether you're making a new demo tape or writing a sales letter or talking on the phone to a new prospect --you must use BENEFITS to sell to their wants and desires.

And that's the First Commandment of making a dynamite demo tape: focus on the client's benefits of using you as their video source...not on the features of you, your equipment or your company.

Here are the other six commandments you need to follow:

II. Your demo tape must be planned properly. Creating an effective demo tape is not a one-day job...it'll take some time to create and execute a video program that'll really do the job you want it to do...to reach the audience with which you wish to do business. It doesn't help to show wedding scenes on a demo tape aimed at corporations...or vice versa. So always keep the needs of your target audiences topmost in your mind.

III. Your demo tape must be produced carefully and exemplify your very best work. No glitches, no bad camera moves, no bad edits. Simply the best you have, presented in a logical sequence.

IV. It should contain testimonials from satisfied customers! You need benefit-oriented testimonials to defuse any prospect anxieties while simultaneously enhancing your credibility.

V. Your demo tape MUST have a call-to-action! It MUST offer something to make the client respond, and respond NOW! It (or the note or letter that goes along with it) should contain a limited-time discount offer, a coupon good for a dozen free duplicate copies of the finished production, or some value-added benefit that makes the prospect reach for the phone to call and book you...NOW.

VI. Your demo tape must be packaged properly. A hand-written label and a cardboard sleeve just won't cut it in today's competitive marketplace. You need to consider printed labels...plastic library cases with printed inserts...anything and everything that will set your tape apart from your hungry competition.

VII. You must get your demo tape in front of the people who you want for your customers! Like any marketing tool, a demo tape is useless unless you get it out there working for you constantly. So who should get it? ANYONE that you contact --or who contacts you --who requests more information about your company and your video capabilities! Mail it, deliver it yourself...but get it out there where it can be seen...appreciated...and responded to.

Remember the value of good & proper follow-up.

Now your demo tape may be the demo tape to end all demo tapes. But you've got to remember that people can be lazy or unwilling to commit to a video project. And while your demo will certainly get their interest, by itself it's usually not enough to get them to call you. So you've got to realize the value of proper follow-up. That includes phone calls, postcards, and even a second or third sales letter if required.

_______________________________________________________________

Steve Yankee is an independent copywriter and sales consultant, and
the author of over 50 books, tapes and Special Reports on video production,
advertising and promotional topics. He can be reached by
emailing syankee@novagate.com , or writing him at Steve Yankee
Communications, 101 Washington, Suite 230, Grand Haven MI 49417.
Phone 616-844-6783. You'll find lots of money-making FREE information
on his website: http://www.syonline.com

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By: Stephen Yankee
101 Washington, Suite 230
Grand Haven MI 49417
616/844-6783
syankee@novagate.com

We could easily spend a month straight talking about "direct mail." There's a zillion books on the subject; it can be very, very complicated. But you know me --I'm a great believer in simplification.

So first, a definition. Direct Mail is anything you mail, hand or present to someone to introduce your business, your services, or to ask for an order. As you may have guessed, Direct Mail encompasses a very wide range of products; everything from a simple postcard to a multi-page letter, or series of letters --to a newsletter, or an item mailed to a customer or prospect.

Why use direct mail?

Two good reasons. It's relatively cheap, AND it gets results.

What kind of results?

Well, crystal ball time! That's a completely reasonable question to ask, but almost impossible to answer with any degree of certainty. With so many variables involved in Direct Mail, I really can't nail this one for you.

The response and closing rates for Direct Mail are higher than those for classified or display advertising simply because DM is usually more targeted than print advertising. Which is why I like Direct Mail better than I like advertising. It gets better results.

But do you see how things work here? It's what we call the "Law of Large Numbers."

The same principles that rule live sales calls also work with direct mail. (Make a hundred cold telephone calls; out of those calls, 10 people will agree to read more information or make an appointment with you; out of that 10, one will give you a project). On a typical promotion, you send , say, 1000 direct mail postcards with a specific offer. You may get as few as a quarter of one percent (2.5) people to respond. You may get as many as five percent, or 50 people to respond. And of those 2.5 or 50 people, you may close one order or less, or 12.5 orders or more. Not exactly an exact science, is it?

Again, Direct Mail consists of something as plain as a one-page letter, and gets as fancy as a whole bunch of items stuffed into a good-looking package. But for the most part, an effective and economical direct mail campaign you can use to get started will consist of a series of letters (or flyers or postcards) sent to targeted prospects.

Here's how it works. Say, for example, that you've decided to do a mailing to insurance agents in your area, seeking new clients for your home inventory video services. You can look in the Yellow Pages to put your mailing list together, but these listings won't tell you the name of the person you want to contact. Depending on the size of the firm, this may be the president, the VP of sales, or the office manager. So you may have to do some phone work to find out who should get your direct mail offer; just call 'em up, explain BRIEFLY what you're doing, and ask for the name and title of the person that should receive this information. (Get the spelling of the names right, too!)

An alternative is to get hold of your local Chamber of Commerce membership list, or their business directory; they're available in most all cities.

So, you've got some names? Now what?

Well, my direct mail pieces typically have four elements. First is a personalized letter. Second is my business card. Third is a sheet or flyer which gives the benefits of using me as a source for copywriting business communications. And last, it would contain a postpaid business reply postcard.

Now, assuming you've sent your articles to the right person in the organization, you have three obstacles to overcome. First, you've got to get that letter opened. Second, you've got to get that letter READ by the right person. And lastly, you've got to get that person to take some action!

How do we get it opened? Well, you can spend hours and hours writing and editing and laboring over a great sales letter, but your time will be wasted if your prospect doesn't open it. Remember, businesses get dozens of direct mail offers every week --most of it unsolicited stuff --and your letter is competing for your prospect's attention!

My advice to you is to avoid gimmicks. For business types, what traditionally works best are personalized business letters, mailed in #10 size envelopes.

Don't use labels. Type the addresses right on the envelopes, or print them on with a laser or inkjet printer...especially if you're sending out a lot of letters. I also occasionally hire someone with good penmanship to address my direct mail envelopes, supplying them blank envelopes, the proper sort of pen (I prefer Pilot Rolling-Ball black markers), and addresses. They receive a nickel for each addressed envelope.

Mail first class and use a stamp! Don't use a postage meter. Stamped mail is likely to get opened faster than metered mail. If you want to attract a lot of attention, use three or four stamps instead of one 32 cent stamp.

Use good quality #10 envelopes with your company's name and address (logo, if you've got one, too) in the upper left hand corner.

If you're going after four or five prime prospects, you might try sending your materials to them by Priority Mail or FedEx, and put it in the appropriate envelope or pak. It is definitely expensive, but have you EVER seen anyone toss away an unopened Priority Mail pouch or Federal Express Letterpack???

And don't forget follow-up. You'll get replies: cards will be returned, and you'll no doubt get phone calls and email, too. Follow up on your leads PROMPTLY by sending the information you promised, or calling your prospects as they requested. I've seen good direct mail campaigns that have cost five figures sink quickly at this point, because their users weren't foresighted enough to prepare to deal with incoming leads promptly and efficiently.

_______________________________________________________________

Steve Yankee is an independent copywriter and sales consultant, and
the author of over 50 books, tapes and Special Reports on video production,
advertising and promotional topics. He can be reached by
emailing syankee@novagate.com , or writing him at Steve Yankee
Communications, 101 Washington, Suite 230, Grand Haven MI 49417.
Phone 616-844-6783. You'll find lots of money-making FREE information
on his website: http://www.syonline.com

Top of Page

By: Stephen Yankee
101 Washington, Suite 230
Grand Haven MI 49417
616/844-6783
syankee@novagate.com

Are you lost out there? Drowning in a sea of competition? Up to your neck battling it out with competitors who already seem to be working with every new client prospect you contact? Perhaps you've been around for quite awhile, relying on word-of-mouth advertising for work but the younger, hungrier sharks are out-hustling you?

Or perhaps you're the new guy in town, ready to put your skills and equipment to work...but nobody knows who you are --or what you do --and nobody seems to care. It's the old analogy about building a better mousetrap. You may indeed have the world's best rodent catcher, but if people don't know about it...you'll never sell any of 'em. You really have to add a new facet to your personality. In addition to being a businessperson, you need to be a first-class business promoter as well!

You can promote your business in many ways, of course. That includes everything from buying expensive newspaper or magazine ads, creating and producing slick and colorful brochures, or embarking on an intensive direct mail campaign designed to introduce people to you, your company and your services. All of these strategies work, but --like you --I'm always most interested in results that require a minimum of investment of my hard-earned dollars.

So why not use the power of the "free press?"

Today, I want to introduce you to the humble press (or news) release; a terrific advertising/marketing vehicle that will cost you a only few sheets of paper, a couple of stamped envelopes, and an hour or two of your time. But lest you sneer at such a lowly marketing device, let me assure you that if you follow the simple advice I'm about to give you, you can turn that modest investment into literally hundreds of dollars worth of valuable magazine and newspaper space, which can lead directly to thousands of dollars in new business!

Here's how it works.

I spent a couple of years editing newspapers and city magazines. From first-hand experience, I know full-well that magazine and newspaper editors love to receive submissions and news releases from their readers. Why? Simple; it's not that local editors and writers are intrinsically lazy --it's just that they're generally snowed under in sentences, piled high with paragraphs, sinking in a sea of special features, and drowning under inescapable deadlines. It follows that the more things you write and provide them for their publication, the less they have to write!

If you follow these steps, you'll be on your way to creating enhanced
visibility for your company --which will lead to more and better sales
opportunities --for a very modest out-of-pocket cost!

1/PREPARE A MAILING LIST. I recommend that you send news releases and photos to every local and regional newspaper and magazine in your business area. Thus, you'll need the names and addresses of every publication in your local area. Easy. Make a list of every publication or media name, address and phone number listed. The more the merrier! (After all, it's only going to cost you a couple pieces of paper, an envelope and a 32 cent stamp to reach each name on your list.) Then, call each of these organizations on your list, and get the name (correct spelling) of the managing editor or news editor or business news editor. Those are the people you want to reach, so they're the ones that should receive your releases!

2/PREPARE A LIST OF POSSIBLE TOPICS. Everything you do is news. Here are some suggestions for releases: .You join a professional organization. .You attend a regional or national convention or trade show .You extend your office hours .You are now open on Saturdays .You are producing a new product for a local client .You hired a new staff person, or just promoted a staff person .You expanded your capabilities .You just opened a new office or studio

3/GET SOME PHOTOGRAPHS TAKEN. You should automatically send a photograph of yourself the first time you send a release to local and regional publications. Even if they don't use it, it'll go in their picture "morgue," and be on file for later use. If you're sending in a release about a new staff person or a promotion, you should also send along a picture of that person or persons. In many other instances, print media editors will respond to your release by calling you and asking for a photo. If at all possible, you should have these ready beforehand.

4/WRITE AND PRODUCE YOUR RELEASE. You don't have to be a great writer to put a news release together. There's a simple format that editors like, and you should follow it. First, use your company letterhead. If you don't have one, type your company name, complete address and phone number(s) in the upper right-hand corner.

Next, provide a release date. Type "FOR IMMEDIATE RELEASE" near the top of the page. This lets editors know that they can use this information immediately. If you don't want the news released until a later date, then write what we call a "news embargo" date in its' place, such as "FOR RELEASE 11/1/97."

Next, write the title or headline of the release. Such as "ACME VIDEO NOW OFFERS HOME MOVIE TRANSFERS TO VIDEOTAPE." This should be written in all capital letters (easier for editors to make it into a headline that way by counting letters, and easier for them to quickly determine the contents and/or newsworthiness).

Next, of course, write the release itself. Keep it as short as possible; typed double spaced, it should never run longer than two pages. If your first draft runs longer, start editing. You need to cover the basics --WHO, WHAT, WHY, WHEN, WHERE...and HOW. I always try to load the release up with feature-benefit points, though, because some magazines will print virtually every word that you send them; and you must be ready to take advantage of those opportunities.

Now most newspapers and magazines will reduce all these wonderful words down to a paragraph of two at best --or a line or two at the worst. But remember --it's FREE advertising. And if you're living in a one-newspaper town, this is probably going to be BIG local news; you might get the whole release printed just as you wrote it....along with a picture or two.

_______________________________________________________________

Steve Yankee is an independent copywriter and sales consultant, and
the author of over 50 books, tapes and Special Reports on video production,
advertising and promotional topics. He can be reached by
emailing syankee@novagate.com , or writing him at Steve Yankee
Communications, 101 Washington, Suite 230, Grand Haven MI 49417.
Phone 616-844-6783. You'll find lots of money-making FREE information
on his website: http://www.syonline.com

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By: Stephen Yankee
101 Washington, Suite 230
Grand Haven MI 49417
616/844-6783
syankee@novagate.com

How you present your company (particularly in a first-time situation) has a lot to do with how you're perceived in the marketplace. Sad but true, you may be an absolute whiz with your equipment and you may be a virtual expert in your chosen field, but if your company looks like a bunch of amateurs, you personally may be treated like one, and not get the respect (or the big budget projects) that you so rightfully deserve.

If you've ever worked for (or worked at, for that matter), a big corporation, no doubt you've been specifically told how to use their logo, what typeface to use for their name, and what corporate colors you must use for reproduction of same. You may even have been handed a bulky "Corporate Graphics Standards" binder, replete with color swatches and exacting dimensions of everything from door signs to envelopes. The name of the game is "corporate identity." And it's just as important for you as it is any Fortune 500 company.

When you strip away all the clutter and marketing gobbledygook, the real purpose of a corporate identification program is to produce a system of graphics that is professional, attractive and that will enhance the image of your firm. Such a program should encompass all aspects of visual communications --including your stationery, advertising, packaging, brochures, signage, trade show booth design, and other printed material that will be viewed by both current and potential clients.

Okay, so you're not quite at the level of General Motors or Microsoft. It doesn't matter what size you are. Establishing and maintaining your corporate identification is very important in your marketplace --whether you're doing business on a local, regional or national scale.

Why? Simple. Because whether you're a company of one, or a company of 100 people, you want people to remember you; you want to look like you know what you're doing; you want to look stable, creative and --most of all --professional.

Let me tell you how we made my last company look much larger than life. Great Lakes Video Services was incorporated about nine years ago. At the time of our inception, the staff consisted of yours truly, my partner Randy, and two part-time technicians, and we had two dinky offices on a side street office building.

We were little. But we wanted to look larger than life. We wanted to look like we were well-established (which we weren't), savvy (which we were), professional (yep), businesslike (ditto), and creative (fer sure).

So one of the first things we did after setting up the videotape dupe rack and plugging the editing suite together was to hire a professional designer and had him develop a logo.. Simple, strong, colorful and eye-catching, it features our name and a graphic device which resembles both a wave (Great Lakes --get it?) and an artfully draped piece of videotape. We decided on our corporate colors --strong shades of blue (for water) and green (for money, natch), and locked in a "corporate" typeface --one that would not vary, regardless of where it was to be used.

And then we proceeded to put our new corporate identity/logo on EVERYTHING we could think of. Our shipping boxes. Our letterhead (even our second sheets carried the simple wave device on the left-hand side). Our business cards, envelopes, order forms, mailing labels, VHS tape box labels, cassette top and spine labels, rate cards, service brochures, invoices --even our equipment identification stickers carry the message in a consistent fashion. And even though Randy (the business and finance guy) winced at the cost of three-color printing for "throwaway" shipping labels, I persisted. If we wanted to convey the image that we were big and slick and could deliver, we had to consistently look that way.

And it worked. The corporate identity we established accomplished its purpose. We were perceived as having our act together.

The frightening thing about public perception is that we in reality could have been totally unhinged and thoroughly unprofessional, working in our garages or basements with antiquated equipment, but our graphic identity made us look like we knew what we were doing. Hence, people trusted us with their work. And when we did a good job, they kept coming back. And we prospered for it.

The underlying principle here is to present your customers and prospects a strong, consistent image. Fragmented or sporadic adherence to this idea ultimately damages your corporate credibility. So decide what you want to be in the mind of your public. Take the time to develop a corporate identity program that says who you are and what you do, and exudes professionalism. And when you've got it, use it! Emblazon your name on everything from labels to baseball caps, ads to vehicles, business cards to building signs. Remember that synergy is strength, and consistency is the name of the game.

_______________________________________________________________

Steve Yankee is an independent copywriter and sales consultant, and
the author of over 50 books, tapes and Special Reports on video production,
advertising and promotional topics. He can be reached by
emailing syankee@novagate.com , or writing him at Steve Yankee
Communications, 101 Washington, Suite 230, Grand Haven MI 49417.
Phone 616-844-6783. You'll find lots of money-making FREE information
on his website: http://www.syonline.com

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By: Stephen Yankee
101 Washington, Suite 230
Grand Haven MI 49417
616/844-6783
syankee@novagate.com

It shouldn't be a surprise to you that our language plays a key role in how we provide service. Language can reflect our view of a client when we properly identify them as the sole reason for our service. Which is true, isn't it? If you don't have clients, it stands to reason you won't be providing anyone your services!

At any rate, I think we'd all agree that words can be used to build up the customer's confidence. But when the wrong expressions are used, the total opposite becomes true.

So how do you build this confidence? First, as the old joke goes, "eschew deliberate obfuscation." In other words, keep it simple as possible. each yourself to use simple, direct words. Your verbal expressions really do have the ability to make a significant difference.

Here's my first example: the expression, "I'll take care of that for you." Now --what does this statement say? "I'll take care of that for you" not only inspires customer confidence, but also improves your sense of self-worth, as well. By forcing you to act, these words enable you to perceive yourself as an important part of your business! Expand that a little bit. Do you have employees? Teach them those seven magical words, "I'll take care of that for you." You'll get the same results. The customer's confidence level will skyrocket, and your employees will feel like an important part of the business, too!

Can your remember the last time you heard the words, "I'll take full responsibility"?

If YOU continually protect yourself from criticism from avoiding words such as these, you can be certain no one else in your company will ever utter them either! However, when you have established yourself as the person ultimately responsible for the exchange between your company and your client, you will find yourself going to great lengths to be sure no mistakes are made! So these are good words for you and your staff, too. "I'll take full responsibility." Learn them for yourself; teach them to your employees; and live by them.

I can't tell you how many meetings and proposals I've sat in where the head presenter finished making his or her sales pitch, delivered the unsigned contract, murmured a few final thoughts on budgets and schedules and details and then sat down without saying this. And I resolved that whenever I made a presentation to someone --whether it was selling them a $500,000 corporate advertising program or a half dozen copies of a videotape --I would always end my spiel with the words, "Mr. Client --we WANT your business!"

Saying "We want your business" makes the message clear that THE CUSTOMER COUNTS!!!! Too many businesses tend to think of their clients as an interference. And why should the client assume that you want their business unless you tell them!? Think about it. Think about how you'd feel if you called some supplier and got a quote and they said, "Mr. Jones, we'd really like your business." Would you feel wanted? Would you feel special? Would you feel that however loyal you were to your usual suppliers that you just might give these guys a shot at handling your business? Thank about it.

Let's move on. "Thank you for thinking about us" is a short, direct sentence that simply tells what business is all about. When a client enters your facility or calls you with a purchase in mind they are, in effect, paying your business a compliment. When you or your employees use these words, you (or they) will have a better understanding of the customer service relationship, and everyone will feel good about the sale. Practice this one. "Thank you for thinking of us."

I firmly believe that every business --whether it's a one-person desktop publishing company or a two-person pet store or a multi-billion dollar corporation --has only ONE reason for existing --and that is to make something happen for the customer --giving good value, and doing it on time. Remember that your clients NEED to be reassured that you'll do WHATEVER needs to be done. And to that end... your words can work wonders. They can create confidence, and establish better customer relationships. Most importantly, they keep your customers coming back again, and again!

_______________________________________________________________

Steve Yankee is an independent copywriter and sales consultant, and
the author of over 50 books, tapes and Special Reports on video production,
advertising and promotional topics. He can be reached by
emailing syankee@novagate.com , or writing him at Steve Yankee
Communications, 101 Washington, Suite 230, Grand Haven MI 49417.
Phone 616-844-6783. You'll find lots of money-making FREE information
on his website: http://www.syonline.com

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Purchases and Leases

Multimedia producers may claim 100% exemption from state and local sales taxes on purchases, financing leases, or fixed-term leases of at least one year of qualifying machinery, equipment and consumable supplies. To qualify, all items must be necessary and essential to the project, and used directly in production.

Examples of qualifying items: cameras and camera accessories; lights and lighting control systems (used directly in the production and that are not improvements to property); props and costumes; video assist systems; time code equipment; editing equipment; stock film, photography and sound; CD-ROM duplication equipment; digital audio equipment including recorders, players, and mixers. Software packages, computers and workstations are eligible for this exemption as long as they are used solely for the production of eligible multimedia projects. If a producer is running email, word processing or accounting software on the same computer he or she uses to create projects, that computer is not exempt from state and local taxes. If he or she has a separate workstation used for production, that workstation is exempt. Examples of eligible software packages include Macromedia Director, Adobe Photoshop, drawing and painting programs, animation programs, and 3D imaging programs.

Certain items are specifically excluded from the exemption. They include: office furniture and supplies, business software, storage disks and tapes, high-speed modems or other networking equipment, research or reference materials, and training manuals.

Services

Certain services that are necessary to the project are tax-exempt. They include: editing, film processing, Foley and sound recording and mixing, animation, storyboarding, QuickTime VR development, CD-ROM mastering, CBT design and development, interface design, instructional design, scriptwriting, blue-screen studio services, digitizing services, packaging and jewel-box design, and VRML and virtual reality development. Other services that are not taxable include music composition, legal services and accounting services.

Some examples of services that do not qualify for the exemption include: data archiving and compression; HTML, Java, CGI and other web-related programming; file conversion; and technical support.

NOTE: Software itself is taxable. These exemptions apply only to the work and materials that go into creating software. Any company that's selling software should be collecting sales tax.
 
To Claim Exemptions
Fill out a Texas Sales and Use Tax Exemption Certificate and give it to the vendor. Certificates are available either by calling the Texas Multimedia Program (512/463-5842) or via Tax Forms Online.

How to fill out the Certificate: in the section marked "Purchaser claims this exemption for the following reason," an appropriate entry would be:

"ITEMS ARE TO BE USED DIRECTLY IN PRODUCTION OF [project name and very brief description, such as EDUCATIONAL CD-ROM ABOUT THE ALAMO]."

Provide a completed Certificate to each vendor from whom you're buying or renting qualifying items or services. If you're making several purchases from the same vendor, they may keep one completed form on file.

The vendor will include sales tax on your invoice. Deduct the amount from the total, and include the completed Certificate with your payment. Both the vendor and the producer must keep a copy of the Certificate on file for at least four years.

FOR MORE INFORMATION
For more information on sales tax exemptions, contact:

Adina Harrell
Tax Administration Division, Comptroller of Public Accounts
(800) 531-5441 extension 34614
(512) 463-4614 from Austin

or

Julia Null Smith
Texas Multimedia Program, Office of the Governor
(512) 463-5842

Last updated: October 22, 1997


©1998, State of Texas, Office of the Governor, Texas Multimedia Program

from:
http://www.governor.state.tx.us/

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From: AV Video & Multimedia Producer
November 1997

Everyday, professional product equipment is bought, sold and stolen. Methods for tracking it as it changes hands are not as effective as one might think. AVV&MMP spoke with Dale Storz, manager of equipment sales for Bexel Corporation in Burbank, California, about this often overlooked aspect of the industry.

Q
As a dealer, you've recovered stolen production equipment. How is this equipment dealt with in the industry?
A
A man recently called to sell me an HL-V55 camera. I ran the serial number through Ikegami, which told me that the camera had been purchased by ABC a few years before. When I called ABC New York, I was told that an HL-V55 had been stolen two years earlier while a crew was flying from New York to Australia.

Q
Once you knew the camera was stolen, what did you do?
A
I called the Burbank Police and said that I had a man offering to sell me equipment that I had confirmed had been stolen.

Time was limited, so I was able to give the police only 20 minutes to arrive and prepare to a sting. Normally, we have a day or two to execute a plan. We set it up so that when the man came in to pick up the check, the police were there. Once I gave him the check, they took him away.

Q
What happened to him? Was he aware that he was trying to sell a stolen camera?
A
We recovered the HL-V55 and it turned out that he was the real victim. He had bought the camera from a store in a strip mall. Now he'll have to sue the camera store to try to recoup his money.

Q
How can producers protect themselves?
A
We encourage anybody who deals in used production equipment to routinely run the serial numbers to make sure that the equipment is not stolen and that there isn't an outstanding UCC - that is, a lease or a loan against the equipment.

Check out the person or company you're buying from. Check with the state in which the company is located for any outstanding UCCs. At Bexel, we take those extra steps so our customers can avoid becoming victims down the line.

Q
What if a producer has some equipment stolen?
A
First, call the police and file reports. The police are networked nationwide. Second, notify the manufacturer that the unit has been stolen and give the company the serial number so that the manufacturer can distribute it to all of its service areas. Should the piece of gear ever go in for service, the company will be able to track it.

Third, post the information on the Internet at http://www.broadcastvideo.com/netpolice, a Web page that has been started for stolen equipment. The Web site is exclusively for listing stolen professional production equipment.

Q
How do people know whether the equipment they're using or selling is stolen?
A
That's still a tough call unless you work with an established dealer. It's too bad that equipment that costs as much as a car is not regulated or tracked the way the department of motor vehicles tracks cars. You get a title for a $15,000 car but not for a $60,000 video camera.

When a manufacturer sells a camera, why doesn't a title go with it? I think this has to be each manufacturer's responsibility. Without a title system, stolen equipment is very easy to move.

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"A Modest Proposal"
By William Ronat
Videomaker Magazine
October 1995

Your phone rings. On the other end is a potential client. You like potential clients, as they represent potential profits. The conversation is pleasant enough, with the potential client giving you a nebulous description of his potential video project. Then it's your turn. "What's is going to cost?" asks the potential client pleasantly.

That's the problem with some potential clients. They want to know exactly what you are going to do before you do it. And they wan