So, this week I received an innocuous handwritten letter in the mail.  Return address: “The Future”.  Who knew the future actually resides in Richmond, VA?  Anyway, I don’t recognize the handwriting and I don’t really think I know anyone in Richmond, but I go ahead and open it.  (Amazing — I was hooked by the return address!)

Inside is an actual original crayon drawing of a dinosaur with one handwritten  line scrawled in crayon:  www.stopthedinosaurs.com/Cara B.

I let the thing sit on my desk for a couple of days.  I mean, is this some insidious, twisted plot to expose my computer to who knows what virus or scam?  Am I about to become the butt of some international internet-based joke?  I could only hold out so long…

blueMarble caraBarineau from Nate777 on Vimeo.

Pretty cool, right?  I mean, this campaign — despite it’s adolescent trappings –  appears to have taken some serious work.  First the folks behind this campaign had to find us and a sample of our web design work.  (By the way, the web site featured in this video is for The Voyager Group of Laguna Beach, CA.)

They had to identify me and the address for Blue Marble.  And, of course, they had to customize their video and their crayon drawing just for me.

And did it work?  Pretty much, I’d have to admit.  I watched their video — twice.  I clicked through to the Tomorrow Awards web site and searched all around it.  I haven’t yet signed up to be a judge, but I probably will.  And now I’m promoting them with a post on our blog!

Yep — they got me.  Hook, line and click-through.

I loved this campaign on so many levels!  First, the personalization — I’m speechless.  Second, the use of video was fun and engaging.  Third, the hook to the Tomorrow Awards web site was superb.  Fourth, direct mail — it’s still alive and kicking!

This is a great demonstration of the power of video on the web … the effectiveness of combining old and new media … and, let’s face it, a lot of good old raw creative thinking!

The answer is … there is no single perfect answer.  It depends on the script or project, the needs of the client, the limitations or requirements of the shoot location(s), the overall budget and sometimes even the client’s ego (believe it or not)!

Sometimes all that’s needed is a camera person who is also experienced with recording audio — say, for a quick “talking head” interview — and maybe a producer and/or grip. Why does that work? Because there are very few variables. One location. One or two interviews. Not too much that can go wrong.

But start adding variables and suddenly the need for additional crew begins to grow. For instance, multiple actors means more complex audio (multiple microphones that need to be monitored and mixed) … props that need to be ready at just the right time … make-up, clothing and costumes that need to be readily available at the drop of a hat. You may also need TelePrompTer support for on-camera talent.

A variety of different scenes usually means different types of lighting and lighting instruments and gear. This requires lighting specialists and people who know how to move and set up equipment. If you’re planning any scenes where the camera will move (usually on a dolly), you’ll need someone to “drive” while the camera person is shooting.

And as a shoot gets more and more complex, you want to have at least one or two people who’s job it is to be ready to help with anything and everything. Because the more complex a shoot is, the more opportunities for the unexpected to occur.

Not long ago a client was challenging me about the need for a production assistant on a shoot with a fairly tight budget. Because the shoot was scheduled to happen in a warehouse-style retail store during business hours, we’d been told we’d need to be very conscientious about not getting in the way of customers or store employees. I reminded the client that we might find ourselves needing to suddenly pick up and move because of an unexpected event in the store like a customer needing to access something right where we’re shooting … or employees needing to close-off an area for a forklift truck to enter.

It only took a moment for my client to see the big picture. “Basically,” he said “what you’re telling me is that it makes sense to spend a couple hundred dollars more upfront rather than taking a risk that could cause us to end up spending a thousand or more if we go into overtime.”

Exactly.

My point is, if you feel your production company is budgeting too many crew people for your shoot (and therefore causing your budget to be higher) — ask them about it. They should be able to explain the duties of each person on the crew and why they’re needed. But also be ready to trust your producer’s judgment. Not only are there budget risks involved with having a crew that’s too small, there are also health and safety risks to think about. Heavy, unwieldy, sometimes extremely hot equipment requires experienced technicians working together to prevent injury to themselves and others on the set.