Preparing a PowerPoint Slideshow for Video Editing

If you're a presenter or public speaker and you intend to videotape your business presentation, including your PowerPoint slide show (or Keynote slide show for Mac), here are a few tips for getting the best results and saving time (and money!) on the editing of your video.

Video Framing and adjusting

First, it should be noted that the best looking videos are with the camera frame on a medium close-up of the presenter (mostly, but wider shots for variety) and the slides with the text leaving some room for the video to be superimposed onto it, rather than the video camera trying to capture the speech and the slides all at the same time (the camera will have to continually be adjusted to get both light and dark areas and be focused every time). (Sample listed below).

Pre-editing the Slides

The font should be as simple as possible and large enough to see when the video frame is reduced in size for playback (the large screen in the meeting room will look very different from a DVD or video file playing back on a TV or computer).


As mentioned, leave room for the video image to appear on the slide (this is where the medium close-up will look best as it will be shrunk, usually). Avoid using the whole slide for text as some TV's will cut off borders of the final image (use two slides, in that case, but do it before in case any viewer is reading the slide show print out along with the video).

Using Microphones

Podium microphones - speaking loud and clear at a podium will allow you to be a foot or two away and still get great results in both the meeting room and on the video. If you aren't loud enough, but stay far away from the mic, the sound of the room will be picked up too much and sound noisy on the recording (and in the room, but not as much since the people are already in the noisy room).

Don't leave the podium mic unless you have a lapel mic as back-up. If speaking really close to the mic - avoid popping P's and T's, by aiming the mic up, so it sits just below your mouth - this will look better on video as well.

Lapel microphones - the best position for lapel mics (or 'lavalier microphones' or 'lavs'), is about a few inches below the knot of a tie, in the middle of the chest (for men) and the lapel that is closest to the screen (for women). Try to avoid hitting the mic during the presentation and consider removing anything that may interfere with getting a clean sound. The microphone should be unobstructed at all times.


For a video example of Better Presentations - see below!

Q&A Sessions
Always ask attendees to 'please use the Q&A microphone' (usually a wireless hand held or mic on a stand for political meetings). If they refuse, or suddenly burst into a question, reiterate the question for the benefit of the viewers (and it helps the editor spend less time on subtitles - or, they will have to listen to the words and spend much time figuring out a 'lost voice' in the background).


Before the Q&A session, it may be wise to ask attendees to refrain from long dialogue that can be dealt with in a one-on-one meeting, especially if they go on and on without the support of a microphone or simply do not include the Q&A session on the final video and treat it like a 'you'd have to have been there' experience.

If You Have a Cold

Always leave a second or two before and after you cough or clear your throat so the audio waveforms can be easily seen on a computer and dealt with quickly. This will save an incredible amount of time during editing. Also, avoid saying 'sorry' or 'excuse me' right before and after coughing or clearing as the waveforms will be jumbled together and take longer to identify. Instead, simply let the audience know that you will cough from time to time before you present.


Have great presentation! - Buck Moore  (watch a sample of edited video)

Invisible AV - How to Plan a Stealthy Loudpseaker Set-up (by Buck Moore)

A traditional loudspeaker set-up for a business meeting might include a left and right speaker on either side of the stage or the use of the ceiling-mounted distributed speaker system already installed in the venue. Often, the former are medium-sized cabinets that can obscure viewing angles and the latter can sometimes sound 'tinny', if not simply cut out sound from time to time (the audio controls are usually pre-set and can collect dust, which can cause the sound to be intermittent even at the finest of venues).

Aside form being very 'present' in a room, medium-sized speaker cabinets can have annoying little lights on the front of them and their larger speaker stands can create extra trip hazards. Using smaller speakers with high audio output can allow the AV technician to create zones of audio and adjust each zone independently and on-the-fly as needed. Also, smaller speakers won't obstruct viewing angles and can sit on smaller stands or even small tables, which are unlikely to be tripped over.

Large speakers at the front are usually only useful for live music and DJ's, where a full sound is desired, but for speaking voices and multi-media, they are very often unnecessary. Ideally, speaker zones should be planned with a combination of powered and non-powered speakers, especially along air-walls, where running power drops to them can be a pain.

Below are two examples of zones created with powered and non-powered speakers from initial planning to implementation:

The bottom example was planned for front projection, but we actually decided to go with rear projection because we had the room behind the screens - it was an aesthetic choice by the meeting planner and would allow for more tables near the front (not to mention the venue politics involved in getting the event up and running).

Using smaller cabinets, distributed throughout the room and aimed properly (to even out levels and avoid audio delay effects) can cover large audiences and minimize the appearance of loudspeakers everywhere. Proper planning of an audio system cannot be left to chance and following these simple guidelines can make your next meeting an AV success!

- Buck Moore can be reached at www.b4ushowit.com.

Invisible AV - How to Hide an AV Set Up and Save Money at Your Next Event

Invisible AV set-ups, where the AV person and main loudspeakers are hidden from view behind the screen, ensure quick reactions by the AV technician to any problems which may arise as well as having the appearance that the show is running by itself.

Two major concerns among fellow technicians include a lack of proper monitoring out front and loudspeakers not on stands, above the ears of the audience - two issues which shall be addressed here.

The following picture illustrates some of the benefits of hiding the audiovisual technology behind the screen (in this case a rear-projection screen) - no cables taped to the floor and no speakers on stands. Showing too much technology tends to look less streamlined, which is why some AV companies and operators insist upon setting up a 'skirted area' at the back of the room so they don't stand out too much, but they are still very much out there.

Going with a rear-projection set-up such as the this won't work in all rooms, however, and must be planned out carefully so that a given projector can fill the screen from behind. The screen shown is a 6 X 8 foot Dalite Fastfold. To fill the screen, there needed to be about 16 feet behind it using a projector with a 1.1:1 zoom ratio, which means the projector lens can make the image 10% larger than the smallest image setting. For rooms with less area behind the screens, a zoom ratio of 1.6:1 would be needed, so that only 12 feet would be needed behind the screen.

The primary loudspeaker was positioned behind the skirt* of the screen and aimed out toward the seated audience, while a second loudspeaker was above the rear half of the audience, aimed down and hidden behind the golden handrail, which is just out of frame to the right. The ideal set-up would have included an audio delay to keep the 'fill' speaker from being noticeable, but turning it lower in volume than the main speaker also works well.

* the skirting for the screen frame should be thin enough to avoid cutting out the higher audio frequencies that are needed for audio intelligibility 

The invisible AV set-up has some distinct advantages over the traditional back-of-room AV set-up, including:

1) There are fewer cables to route to the back of the room - this should save some money** because there is less to set up and there will be no unsightly cables taped to the floor that people can trip over. 

** individual AV companies differ in this respect, so ask a lot of questions

2) The AV technician can respond immediately*** if technical problems should arise - this saves time and keeps things running smoother as the technician doesn't have to run to the front of the room to fix the problem (this is especially important where there are no proper aisles planned when setting up tables).

*** not all AV staff will help with EVERY aspect of the technical side of things - for example, some technicians will not do much about trouble with multimedia playback that doesn't go as planned

3) The projector doesn't take up room in front of the screen - if you decide that rear-projection is right for the room and event, you will not have to worry about somebody bumping into the projector table (or cart), nobody can trip over the cabling and there will be more room for an extra table or two for the audience.

To sum up, the invisible AV set-up is a streamlined way of running the technical side of an event that can save you money on set-up and strike, look as though it is running by itself and has the benefit of less cabling exposed. Even if you must use front-projection because of the room size, you can still minimize exposed cabling and still have the AV technician close by.

Monitoring the event is quite easy as the AV technician can do an occasional walk-around to ensure proper audio levels and, in the case of two-screen set-ups, can angle the screens 'in' to be able to monitor what's being projected from behind a screen (see picture below). The invisible AV set-up is ideal for meetings of up to 200 people where the meeting planner needs excellent results within a modest budget.

Here is one more example of a two screen, front projection set-up at an event for 180 people in New York City:

 

I had a clear view of the presenters and the screen content 

with perfect control of the multimedia playback.

- Buck Moore can be reached at www.b4ushowit.com or email: buck@buckmoore.net

How To Make Lighting Work For Your Event (by Terry Holdershaw)

Lighting is something that is often over-looked which is a shame as lighting can make a huge impact on any event, small or big. Whether you are having a meeting of conference for 50 people or a huge gala for 3000 people, lighting can make a huge difference and impact on your event.

From simply lighting up the podium or stage to adding room ambience and logo projection, lighting is a very important aspect to every event. Whenever you have a presenter or performer you should always have the podium or stage that they will be presenting from lit up, especially if there will be photo or video being taped. Typically you will use a Ellipsoidal lighting fixture, known as a Leko Light to light up a podium or stage.

Leko Lights are adjustable and focusable to light up only the specific area, such as a podium that you want. This is especially important when you also have video projection being used in the room as you don’t want to wash out the screen with the light. Leko’s are very bright and can light up a podium or stage from the back or side of pretty much any meeting room. It is best practice to light up a person or object from two angles, one light from each side for even light and to avoid shadows.

It is also important to use a dimmer pack and control console with these lights so you can adjust the brightness of the light. For lighting a stage there are also Par-Can lights that are often used, you see these most often on music stages and concerts. Par Can’s have to be used closer to the stage, typically they are hung above the front line of the stage and also are used on the back and side lines of the stage as well. Par-Can’s are not focusable or adjustable, you can insert gels into the light to change the colour and that’s about it, but they are very good for lighting up a stage and bands.

The biggest trend with lighting is LED and ambient room lighting. The most popular type of LED Lights right now are LED Pars and LED Bars. The pars are similar to the traditional par-can, but with LED lights, not quite as bright, the white isn’t as white as a traditional light bulb and you can change the colours of the LED’s very easily. The LED Bars are the same idea and concept of the LED Par except they are in the shape of a bar about 3 feet long. LED Bars and Pars are often used and look great for up-wall lighting, lighting up bars, the backdrops of stages, head tables, entry ways, pillars, doors, art pieces, signs and much more.

LED’s are very versatile, you can change the colours, brightness, create colour scrolling patterns, strobe and much more with a controller such as the computer based Martin Light Jockey. LED Technology is advancing very fast and improving, they now have moving head LED Lights and also LED’s that are able to create a white almost the same as the traditional lights, but they are very expensive and most AV companies are not carrying these models yet.

Intelligent Moving Head Lights are very common for larger events, mainly galas, awards ceremonies, weddings, AGM’s, but also can be used at meetings and conferences. Moving Head lights are very useful and versatile lights. They are called “intelligent” lights because you are able to control and program the light to tell it what you want it to do whether it be to change colours, pattern, shape or to move around the room fast or slow, etc. Martin is the industry standard for moving head lights with their most common fixture being the Mac 250, there is also competitors out there, most popular being the Elation Design Spot.

Here are just a few common uses for intelligent moving head lights: pin spot a podium, stage wash, dance floor lighting, ambient room lighting, Hollywood light theme, custom gobo projection and much more. The basic idea of these lights is that the lamp projects it’s light through a circular lens, there is then a colour wheel that you can change the colour of the light and there is also a gobo wheel that you can change the pattern or design of the light.

A gobo can be made of either glass or metal which when placed in front of the lamp, it projects whatever pattern or image is on the gobo, for example you have a metal gobo with a star shape cut out of it, the star is what will be projected by the light. You can have custom gobo’s made with company logos, slogans, etc. made which is popular for corporate events that want to have their company at the forefront of the guests mind.

Custom Gobo’s can be made for all moving head lights as well as Leko Lights and a few other Gobo Projection lighting fixtures such as the Martin PR1. If you are looking to impress your guests at your next event, whether it be a Sales Meeting, AGM, Gala, Awards Ceremony, Wedding, Holiday Party, Customer Appreciation Event or Grand Opening make sure to consider and think about lighting to help enhance your event and make it memorable for your guests. Everybody has been to a boring plain meeting or banquet room and nothing really stands out about that, but you can really transform and add a lot to a room by adding a little bit of lighting.

- Terry Holdershaw
Scotia Entertainment
Terry grew up in Nova Scotia and moved to Toronto in 2001 where he attended and graduated the Audio Engineering Technology program at Trebas Institute. He also took additional courses in the Music Business Management program at the International Academy of Technology. Terry has extensive DJ experience ranging from Bars & Clubs to Weddings, Corporate Events, Award Shows, Gala’s, Festivals, Fundraisers, Stag & Does, School Dances and Proms.

Save Money on AV Services: Live Video Coverage

Buck at a live event in Toronto

Video coverage for live events is a great way to keep a record of what happened because, if it goes well (which it should if you plan right), you'll be glad you had it recorded. That being said, if you're going to do it, don't leave too much to chance!

1) Give a schedule to the video team - email or send a schedule to let the video team evaluate the time they have to set up, especially between presentations, if there are a full day's worth. If the itinerary isn't carved in stone, perhaps it can be discussed before the final version gets sent out. Better planning up front may mean a bit more money initially, but much less in post production. This is especially important if there are 'breakout' sessions happening simultaneously with very little time to set up gear from room to room.

2) Hire the video team for a site visit - they may include the visit because it is in their best interest or they may charge a little extra, but a site visit will go a long way and minimize any surprises. Believe me, I've encountered many! People don't often think much about cable-routing or noisy corridors because they do not know what questions to ask. Ask the right questions, get the right answers and save yourself from both on-site and post-production nightmares!

3) Ensure all presenters and public speakers know it is going to be recorded - some speakers are represented by bureaus and may not want to be recorded. They should know about the available microphones and the limitations of the technology. For example, a speaker who refuses a lapel mic (it happens) may drift away from a podium and not be heard well on the recording. Ask the speakers if they are 'standers' or 'roamers' because the microphones must be selected and planned beforehand (wireless lapel microphones require their own article!!)

At another event, covering audio and video in Uxbridge

4) Have all materials available to the video team before editing - nothing is more time-consuming and costly than not having materials available, exactly the way you want them to appear, available at the time of the edit. One question about titling* can hold up the production for a day or more! Late-arriving PowerPoint presentations must be edited for screen and converted to still images for the edit and if they are prepared beforehand, it will save a lot of time for the editor (and look great on video). * Choose the font you want before editing!

5) Allow enough time for a proper edit - there are way too many details involved in an edit of an event to rush it. Rush jobs are 'rough jobs'. Allow enough time for rough edits (to evaluate), correspondence and proper titling. This will help the project flow along nicely and avoid any frustrating snags for the editors.

Tip - a proper video team will have audio recorders as back-up just in case something happens to the video. The cost is minimal and should be a part of the whole package - a small price to pay for seamless audio! (see below)

Did you know - videographers often use 'cutaways' when shooting video? A cutaway is a visual change from the main action to another action, such as an audience reaction shot or wide shot of the whole room - to establish the size of the crowd. This ensures proper coverage and good material in post production. Also, if something were to interrupt the video, the audio would be seamless and not interrupt the message.

Have a great event!!

- Buck Moore