1. Developing Your On-Camera PresencePracticing comfortable posture and stance| 00:00 | Let's start by talking about how you
present yourself on camera, starting with posture.
| | 00:05 | Remember when you were a child, and you
were told to sit up straight, and to not slump?
| | 00:11 | Well, that advice is never more
appropriate than when you are on camera.
| | 00:15 | It's just not a good look when you
slump. Sure, it's important to be relaxed,
| | 00:19 | but you shouldn't look like you don't know
any better, or worse yet, don't care how you look.
| | 00:25 | And this holds true whether you're
an interviewee or a presenter. Sometimes
| | 00:30 | you'll be standing, sometimes you'll be sitting.
| | 00:33 | Let's start by sitting in a chair.
| | 00:35 | Most of the time it's best to sit on
the edge of the seat, this will help you
| | 00:39 | to sit up straight.
| | 00:41 | Leaning back creates a crushed look.
Your cloths won't look good, and I think it
| | 00:46 | also conveys an attitude of
apathy, and maybe even arrogance.
| | 00:51 | This is even more important when
you're sitting in a cushioned, or
| | 00:55 | overstuffed, or oversized chair.
| | 00:57 | While it's important to be comfortable
when you're on camera, it's easy to get
| | 01:01 | swallowed up by a big chair.
| | 01:03 | So keep your back straight, and scoot
a little forward in the seat. Don't let
| | 01:07 | any part of your back rest
against the back of the chair.
| | 01:11 | If you're in a swivel chair like when
you might find at a desk, make an even
| | 01:15 | extra effort to sit still. Don't swivel or
rock back, it's very distracting to the audience.
| | 01:21 | But don't lean so far forward that your
elbows are on the desk, unless of course
| | 01:26 | you need to do so for emphasis.
| | 01:28 | (video playing)
| | 01:30 | If you're presenting information,
chances are that the majority of your on
| | 01:34 | camera work will be
standing, and maybe even walking.
| | 01:37 | Here again, you want to keep your back
straight, shoulders back, and tighten
| | 01:41 | your stomach muscles.
| | 01:43 | Imagine a string tied to your tailbone
pulling you up through your head, this
| | 01:47 | will help you roll your hips forward, which
will help you from arching your back too much.
| | 01:53 | A great trick to looking good on video
is to angle yourself to the camera. It
| | 01:58 | doesn't take much, try to
avoid standing square to it.
| | 02:01 | Often when people get nervous, they
shift their weight from one foot to the
| | 02:05 | other. This creates a
swaying motion that just looks bad.
| | 02:10 | So angle yourself and position your
feet in a T-stance. Put one foot pointing
| | 02:15 | toward the camera with the other one a few
inches behind in perpendicular to the front one.
| | 02:20 | Lead with whichever foot is more
comfortable to use, or more compatible with
| | 02:25 | whatever might be next to you.
| | 02:27 | I do this whenever I'm talking to the
camera, or being interviewed by someone,
| | 02:31 | because I know that everyone
looks better at a slight angle.
| | 02:36 | Now when you get nervous and start
shifting your weight from foot to foot, it's
| | 02:40 | not as noticeable to the camera,
because the movement is on the same z-axis, as
| | 02:45 | opposed to being on the x-axis.
| | 02:47 | And when it comes to how you hold your
head, contrary to what we often do in
| | 02:52 | person, to convey confidence, don't lead
with your chin up. On camera it looks arrogant.
| | 02:59 | You want to till your chin down slightly.
| | 03:02 | This forces your eyes open and the
audience can see deeper into your soul.
| | 03:08 | You'll also want to minimize
hand gestures and rapid movement.
| | 03:12 | This doesn't mean that you can't use
your hands, just make the movements count.
| | 03:17 | We have much more information about
movement in a separate movie, but for now,
| | 03:21 | this will get you started.
| | 03:22 | Just remember to sit up or stand
straight and angle yourself to the camera.
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| Choosing the right clothing and makeup| 00:00 | One needs only to look at the folks
on TV to tell what looks good, and more
| | 00:05 | importantly, what doesn't.
| | 00:07 | If you find yourself not hearing what
the person is saying because of what he or
| | 00:11 | she is wearing, then it's
probably because the clothes are wrong.
| | 00:16 | So, just to make it easy, here are
some simple guidelines for clothing,
| | 00:20 | accessories, and makeup when you are on camera.
| | 00:23 | This applies to whether you are
presenting information, or answering questions.
| | 00:28 | So let's take a look at clothes.
| | 00:31 | I'm a big believer in keeping it simple.
| | 00:33 | Stay with solid colors
and earth tones or pastels.
| | 00:38 | You can't go wrong with a blue shirt,
it's the most camera friendly color I
| | 00:42 | know, and it conveys trust.
| | 00:46 | A simple patterned shirt can be okay, if
you're also wearing a sport coat or jacket.
| | 00:51 | A collared shirt will give
you a more tailored look.
| | 00:54 | Ladies may choose a blouse with
ruffles or bows for a softer look.
| | 00:59 | The important thing is to dress
appropriately for the audience.
| | 01:04 | Generally, you want to avoid solid red,
white, and black, although this isn't as
| | 01:09 | important in the digital age as
it was way back in the 20th century.
| | 01:14 | Cameras today can handle these colors
better than before, but they can still be
| | 01:18 | a problem for other reasons.
| | 01:20 | For instance, if the red shirt has too much
blue in it, it will look purple on camera.
| | 01:26 | And of course, you won't know this,
until you wear it on camera. And if the
| | 01:31 | shirt color is the same as the background
color, you might look like a floating head.
| | 01:36 | One way to avoid this problem,
especially if you're going into a situation
| | 01:41 | where you don't know what the
background will be, is to bring a few different
| | 01:44 | choices of shirts and jackets.
| | 01:47 | Unless you were being paid an
endorsement fee, you definitely want to avoid
| | 01:51 | logos that don't relate to you or
the company you are representing.
| | 01:56 | And stay away from busy prints
and anything with words on it.
| | 02:00 | You don't want things like these to
distract viewers from your message.
| | 02:05 | Since most of your on-camera appearing
will show you only above the waist, pants
| | 02:10 | color isn't as important as pants comfort.
| | 02:14 | But if you'll be seen in a long shot,
make sure the pants match and the
| | 02:18 | shoes are appropriate.
| | 02:20 | If you will be seen in a long shot, then
guys should generally wear socks at
| | 02:24 | least as dark as their pants.
| | 02:26 | When it comes to accessories, simple is best.
| | 02:30 | Big rings, bracelets, and
necklaces detract from your message.
| | 02:35 | Unfortunately, too many
people have forgotten this.
| | 02:39 | Gentleman, don't make the most memorable
part of your presentation your ugly tie.
| | 02:45 | If you must wear glasses, invest in
anti-reflective coating. You want the
| | 02:49 | audience to see your eyes, not a
reflection of the lights. An added bonus is
| | 02:54 | that the gaffers and
camera people will love you.
| | 02:59 | My rule for makeup on TV: always wear
some. At least wear a little powder to
| | 03:04 | reduce the shine that
results from oils in your skin.
| | 03:08 | HD video shows everything, including bad make-up.
| | 03:12 | What you may have used on stage or
on analog TV won't look good, because
| | 03:17 | it will be too fake.
| | 03:20 | The good news is that it doesn't
take much, less is better than more.
| | 03:24 | The bad news is that it can be expensive.
| | 03:27 | If you want more information on makeup
for video, be sure to check out the
| | 03:31 | lynda.com Makeup Techniques
course in this On Camera series.
| | 03:36 | Before we end this movie, I'd like to
address a technical issue that you need to
| | 03:40 | be aware of. That's microphone placement.
| | 03:43 | If you will be shooting yourself for
something like a web chat or a podcast
| | 03:47 | and wearing a clip-on microphone,
| | 03:49 | consider where it will need to be attached.
| | 03:51 | The sternum area is best.
| | 03:53 | Flimsy material doesn't
play nice with clip-on mics.
| | 03:57 | A jacket lapel is great, as is a tie.
| | 04:00 | If you're wearing just a shirt,
it's best if it has buttons.
| | 04:04 | The shirt will probably be sturdy enough,
and you can more easily hide the mic cord.
| | 04:09 | If there's a news crew or some other
production crew, then they will probably
| | 04:13 | take care of this for you.
| | 04:15 | And if you'll be wearing a wireless
microphone or even a clip-on mic with a
| | 04:19 | large battery pack, and you need to
stand, you'll need a waistband, or a belt
| | 04:24 | for it to hang from.
| | 04:25 | Otherwise, you just let the
battery pack sit in the chair with you.
| | 04:30 | When it comes to clothes, keep it simple. You
don't want what you're wearing to be distracting.
| | 04:36 | Wear at least a little makeup to reduce
the shine on your face, and remember that
| | 04:41 | you'll quite possibly be wearing a microphone.
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| Connecting with the audience| 00:01 | This movie is specifically about
talking directly to the audience through the
| | 00:04 | camera for things like TV commercials,
informational videos, or even podcasts.
| | 00:10 | And believe me, this is not a
natural act, this is an acquired skill.
| | 00:15 | You have to first learn to forget much
of what you know about public speaking.
| | 00:20 | You may be presenting information that
you have created, and assembled or you may
| | 00:24 | simply be the person
chosen to relay the information.
| | 00:28 | You might be speaking
extemporaneously or reading off of a Teleprompter.
| | 00:33 | Whatever the case, you need
to connect with your audience.
| | 00:37 | You do that by being confident, not just
about the material, but also about yourself.
| | 00:42 | This is not easy because it's more
than just looking into the camera.
| | 00:46 | You need to look through
the lens, not at the lens.
| | 00:51 | Just think of the lens as your
audience, one person, someone you know, and
| | 00:56 | talk to him or her.
| | 00:58 | When I work at public television
pledge drives back home, I talk to my
| | 01:02 | mother-in-law, it helps me
make my delivery more personal.
| | 01:07 | If you're speaking extemporaneously and
not working with a script or a prompter,
| | 01:11 | it's okay to glance occasionally at your notes.
| | 01:14 | Just make sure they're in bullet point form
so you won't be tempted to read them verbatim.
| | 01:21 | You want to keep it conversational.
| | 01:23 | Telling is always better than reading.
| | 01:26 | Whether or not you are using a
prompter, you want to make sure you are
| | 01:30 | familiar with the script before
shooting, and that you've practiced narrating
| | 01:34 | out loud several times.
| | 01:37 | This helps you train your ear to
know how your delivery should sound.
| | 01:42 | During the rehearsal is the time to
learn how to phrase things and when to
| | 01:46 | pause, and emphasize.
| | 01:48 | You don't have to know what you're
talking about, as long as you sound like you do.
| | 01:54 | If you're lucky, there will be a
subject matter expert on hand to help you and
| | 01:58 | confirm that it sounds right.
| | 02:01 | Here are some tips specifically for
delivering copy using a Teleprompter.
| | 02:05 | Of course you want to rehearse the
script beforehand, the main reason here is
| | 02:10 | that it lessens the need to
focus so hard on the screen.
| | 02:14 | When you read the script for the first
time while you're on camera, you won't
| | 02:17 | have the comfort and confidence
you would have had you practiced.
| | 02:22 | Simply put, don't get caught reading.
| | 02:24 | A lot of this kind of work is
shot a paragraph or two at a time.
| | 02:28 | This is great for you, the talent,
because you won't have to record the
| | 02:32 | whole script in one take.
| | 02:34 | It's kind of like that old joke about
eating an elephant, one bite at a time.
| | 02:40 | You may be asked to read the script from
the prompter and see how far you can go
| | 02:44 | without a bobble, then when you do make
that mistake, they just have you go back
| | 02:48 | to the last good paragraph
and pick it up from there.
| | 02:52 | Keep these in mind for Teleprompter use,
but you won't always be on prompter.
| | 02:57 | So whether you're speaking
extemporaneously or reading from a prompter, here
| | 03:02 | are a few more tips.
| | 03:03 | Even if the director isn't sure what
parts of the video will show you on
| | 03:08 | camera and what will be covered by
your voiceover, by having you read the
| | 03:12 | whole script on camera, the editor is
guaranteed you always have something for
| | 03:17 | the audience to look at.
| | 03:19 | When delivering your copy, slow down
and wait for the director to call 'cut'.
| | 03:25 | Talk about half as fast as you think you should.
| | 03:29 | You want your audience to get it the first time.
| | 03:32 | They may not have an opportunity to go
back and review, and if you are speaking
| | 03:37 | extemporaneously, slowing down will give your
brain time to think about what you will say next.
| | 03:43 | Then when you finish a paragraph,
keep looking into the camera.
| | 03:47 | It's important for you to maintain
that eye contact so the editor will have
| | 03:51 | time for a transition.
| | 03:53 | Wait until you hear 'cut' before looking away.
| | 03:57 | It's natural to look over to
someone who will give you approval.
| | 04:01 | Well, you won't get it if you break your gaze.
| | 04:05 | Remember, talking to a
camera is not a natural act. Oh!
| | 04:11 | And here's a bonus tip that works
in any kind of on-camera delivery.
| | 04:15 | Crank up the energy about 20%.
| | 04:18 | The recording process has a way of
sucking up your energy, in addition to your soul.
| | 04:22 | So pump it up a little, send that
dynamic energy toward the camera.
| | 04:27 | You can always tone it down if it's
too much, but if you just use your normal
| | 04:31 | speaking delivery, you will
come across onscreen as half dead.
| | 04:37 | Here's another bonus tip, this time
about practicing Teleprompter reading
| | 04:40 | without a Teleprompter.
| | 04:42 | Next time you watch a movie on TV, when
the credits roll, turn off the sound and
| | 04:47 | read aloud the names and crew
positions as if you were narrating it.
| | 04:52 | You'll quickly see just how difficult prompter
reading can be and why one needs to practice.
| | 04:58 | Speaking of practicing, these days you
don't even need to have a regular video
| | 05:02 | camera in order to
practice your on-camera delivery.
| | 05:05 | If you have a phone, especially one
with a front facing camera, you can just
| | 05:10 | hold it up in front of you and practice away.
Or just sit at your webcam-equipped computer.
| | 05:17 | And once you see yourself,
do you see yourself smiling?
| | 05:20 | You should, whether you're
selling or instructing, smile.
| | 05:24 | Remember, you are not daring people to
learn or to buy, you are inviting them.
| | 05:30 | Train yourself to smile at
the end of every sentence.
| | 05:34 | That way you will not only maintain a
smile throughout your narration, but more
| | 05:38 | importantly, you'll end
your paragraph with a smile.
| | 05:40 | Of course, if you're delivering bad news,
you may want to rethink that smiling business.
| | 05:47 | So to summarize, rehearse your script,
crank up your energy, maintain eye
| | 05:52 | contact while you think of the one person
who's watching, tell rather than read, and smile.
| | 05:59 | Oh, and practice. Piece of cake!
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| Exercising breathing and vocal control| 00:00 | Rick Allen Lippert: It's important to be
relaxed when you are on-camera, and nothing relaxes you
| | 00:05 | better than breathing.
| | 00:07 | Breath-support also allows
for better vocal performance.
| | 00:11 | Many people talk literally through their
noses, because it's what they've always done.
| | 00:16 | Ray, can you let us hear what that sounds like.
| | 00:19 | Ray: Solar power is no longer
restricted to the wealthy, privileged, or
| | 00:23 | technologically savvy.
| | 00:24 | We've moved beyond the novelty of
solar calculators and watches into a reality
| | 00:29 | where solar power substantially
reduces energy bills for all customers.
| | 00:34 | Rick Allen Lippert: Quite nasally, thank you!
| | 00:36 | Other people talk straight from their throat.
| | 00:39 | It may be okay in conversation, but the
voice doesn't project very well, because
| | 00:43 | it's essentially closed and
there's no breath support.
| | 00:47 | Ray, let us hear how that sounds.
| | 00:49 | Ray: Solar power is no longer
restricted to the wealthy, privileged, or
| | 00:53 | technologically savvy.
| | 00:54 | We've moved beyond the novelty of
solar calculators and watches into a reality
| | 00:59 | where solar power substantially
reduces energy bills for all customers.
| | 01:04 | Rick Allen Lippert: Quite closed, isn't it?
| | 01:06 | The most resonant voice for both
males and females is the one that has full
| | 01:11 | breath support. We call this your natural voice.
| | 01:15 | Now Ray and I have already been practicing.
| | 01:17 | Ray, let's hear your strong natural voice.
| | 01:20 | Ray: Solar power is no longer
restricted to the wealthy, privileged, or
| | 01:24 | technologically savvy.
| | 01:25 | We've moved beyond the novelty of
solar calculators and watches into a reality
| | 01:30 | where solar power substantially
reduces energy bills for all customers.
| | 01:35 | Rick Allen Lippert: Very nice. Your natural voice isn't
the voice you may have always used, it's the voice you
| | 01:41 | would naturally have, if
it were supported properly.
| | 01:45 | How do you get there?
| | 01:46 | Well, let's start by breathing
in through the nose and exhaling.
| | 01:50 | Go ahead and do that. Do that again.
| | 01:54 | Do you feel your chest expand?
| | 01:59 | Breathe in again, and this time, make
sure you let your stomach pooch out.
| | 02:06 | When you inhale, the diaphragm under
your lungs pushes down on your stomach,
| | 02:10 | forcing it to pooch out.
| | 02:12 | One more time, this time exhale
through your mouth. Do this again, this time
| | 02:22 | when you exhale, make a sound like this.
| | 02:26 | Ahhhhh.
| | 02:31 | Rick Allen Lippert: Yeah, yeah do that again.
| | 02:32 |
| | 02:36 | Rick Allen Lippert: You let your sound drop from
your throat through your chest down as far as it
| | 02:41 | can go without forcing it.
| | 02:43 | See how long you can exhale and make that sound.
| | 02:45 | (video playing)
| | 02:51 | Rick Allen Lippert: When you can't go any
longer, you have found your natural voice.
| | 02:55 | Now you're really using your diaphragm.
| | 02:57 | This is where your voice should emanate.
| | 02:59 | Ray, let's hear that sound again.
| | 03:01 | Ray: Solar power is no longer
restricted to the wealth,y privileged, or
| | 03:05 | technologically savvy.
| | 03:07 | We've moved beyond the novelty of
solar calculators and watches into a reality
| | 03:11 | where solar power substantially
reduces energy bills for all customers.
| | 03:15 | Rick Allen Lippert: That sounds great.
Sounds a lot better, don't you think?
| | 03:17 |
Ray: It sure did.
| | 03:18 |
Rick Allen Lippert: Feels better too, doesn't it?
Ray: Yeah, I could feel the difference.
| | 03:20 | Rick Allen Lippert: Yeah. I do this same breathing and
relaxing technique whenever I'm about to do any narrating.
| | 03:28 | Ever noticed that most narrators wear
headphones, and not just wimpy little
| | 03:33 | earbuds, but big, honking cans?
| | 03:35 | The reason why is not just to hear
themselves, it's to help them lower their
| | 03:39 | voice down to their natural register.
| | 03:42 | And you can do the same thing even
if you don't have any headphones.
| | 03:46 | Ray, I want you to try the line again,
but this time I want you to go back
| | 03:49 | to your nasal voice.
| | 03:52 | Ray: We've moved beyond the novelty of
solar calculators and watches into a reality
| | 03:57 | where solar power substantially
reduces energy bills for all customers.
| | 04:02 | Rick Allen Lippert: Okay, now I want you to cup
your hands, I'll hold the script, I want you to
| | 04:06 | cup your hands tightly over your head and just
try to use your nasal voice as you read the line.
| | 04:11 | Ray: We've moved beyond the novelty of
solar calculators and watches into a reality
| | 04:16 | where solar power substantially
reduces energy bills for all customers.
| | 04:21 | Rick Allen Lippert: What do you think?
Does it help you find your natural voice?
| | 04:24 | Ray: Yeah, I can feel a difference too.
Rick Allen Lippert: Yeah, that's good!
| | 04:26 | Rick Allen Lippert: Of course, you can't go
through life with your hands cupped to your ears,
| | 04:30 | but you can use this technique to train
yourself as to what your voice should sound like.
| | 04:35 | My broadcasting professor chided
me repeatedly, Lippert from the gut.
| | 04:40 | Frankly, I didn't have a clue what he meant,
because he didn't show us how to do it.
| | 04:44 | It took me several years and a lot of training
and practice to learn what I've just shown you.
| | 04:50 | So now that you know the secret to
finding your natural voice, I hope you
| | 04:54 | practice. Try the exhaling
exercise while driving in your car.
| | 04:59 | Voices over microphones sound best
coming from the gut, really using your
| | 05:05 | diaphragm. And since any video
recording you'll do requires a microphone,
| | 05:10 | using your natural voice supported
by proper breath control will make you
| | 05:15 | sound better.
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| Exercising clear delivery and diction| 00:00 | It goes without saying that you want
whatever you are presenting on camera to be
| | 00:04 | understood by the audience.
| | 00:06 | In order for that to happen,
you must speak clearly.
| | 00:10 | So in this movie, we're going to
learn about delivery and diction.
| | 00:15 | While a lot of this movie is about
being an on-camera presenter, much of this
| | 00:18 | lesson will certainly benefit anyone
who will be interviewed on TV or radio.
| | 00:24 | I hope you stay with me.
| | 00:26 | I think a great place to start is with
your own name, because we've each said
| | 00:31 | our name our whole lives, we often
rush through it and slur the words.
| | 00:36 | After all we know who we are, right?
| | 00:39 | Let's correct this right now.
| | 00:41 | I'm going to say my name as if
I'm introducing myself to you.
| | 00:45 | My name is Rick Allen Lippert.
| | 00:49 | Think about how that sounds
when you don't enunciate it.
| | 00:52 | My name is Rick Allen Lippert.
| | 00:55 | Hope you can see how
important this little act is.
| | 00:59 | If you are going to be an on-camera
presenter, your first job is to be prepared.
| | 01:04 | Start by reading aloud the
script, maybe even several times.
| | 01:09 | Train your ear how it should sound.
| | 01:10 | If there is an area or a passage that
gives you trouble every time, it may
| | 01:16 | need to be rewritten.
| | 01:17 | Sometime scripts are written by
people with a print background.
| | 01:20 | There's a difference in
writing for the eye versus the ear.
| | 01:24 | I believe that if the talent has
trouble with a passage, then it's
| | 01:27 | the writer's fault.
| | 01:29 | That passage needs to be rewritten.
| | 01:31 | And I say that as a writer myself. You
may need to talk with the director about
| | 01:35 | making the script work for you.
| | 01:37 | Above all, it should be conversational.
| | 01:41 | But let's assume the script is well-written
and that you've rehearsed it several times.
| | 01:46 | You've done your vocal exercises
to find your natural voice with the
| | 01:49 | proper breath support.
| | 01:51 | So let's work on your delivery.
| | 01:53 | Unless directed otherwise, just be yourself.
| | 01:57 | The more natural you are, the more
comfortable and accepting your audience will be.
| | 02:01 | As I've said before, smiling makes
you more approachable and confident.
| | 02:06 | When you start actually narrating or
speaking after being given the action cue,
| | 02:11 | you want to use the appropriate emotion.
| | 02:14 | The content will dictate
how you should feel about it.
| | 02:17 | You'll also want to vary your delivery.
| | 02:19 | Don't read each sentence the exact same way.
| | 02:23 | Dynamic delivery is more
entertaining than monotone.
| | 02:26 | (video playing)
| | 02:31 | Speaking in appropriate phrases, using
pauses, and putting the right emphasis
| | 02:35 | on the right syllables is important for the
audience to absorb the information you're presenting.
| | 02:41 | Understanding technical information isn't as
important as sounding like you understand it.
| | 02:47 | Again, it's best to have a
content expert there to offer guidance.
| | 02:51 | What should you do if you make a mistake?
| | 02:54 | The type of production will
determine what happens next.
| | 02:57 | They may want to stop the recording and
reset things, or they may have you just
| | 03:01 | back up and start over.
| | 03:04 | Unless directed to stop after a bobble,
you generally want to just pause, then
| | 03:09 | go back to the start of the sentence or
paragraph and pick it up just before the mistake.
| | 03:14 | (video playing)
| | 03:30 | They may be able to edit out the
bobble, or cover it with different video.
| | 03:35 | If, however, you are speaking
extemporaneously, or in an interview, a little flub or
| | 03:40 | bobble may be minor enough
to not bother the audience.
| | 03:43 | In this case, the quicker you blow
it off and keep going, the quicker the
| | 03:47 | audience will forget about it.
| | 03:49 | (video playing)
| | 03:59 | Think of it like the ice skaters
who fall during their performance.
| | 04:03 | They just get right up and finish their routine.
| | 04:07 | Would you like to sound more
intelligent when you are on camera?
| | 04:11 | Of course you would.
| | 04:12 | Then enunciate your consonants.
| | 04:16 | This may take some practice.
| | 04:18 | Don't slur your Ds and Ts or drop your
Gs unless it's part of your presentation.
| | 04:25 | Let's practice a minute.
| | 04:26 | There is a line that I use when I rehearse.
| | 04:28 | You can use the same line when
you practice as well. Here it is.
| | 04:32 | "Wouldn't you like to start renovating the wooden patio decking?"
| | 04:42 | This sentence has a couple of traps.
| | 04:44 | I hope your 'wouldn't' sounded
differently from your wooden.
| | 04:49 | Did you enunciate the Ts in
out, start, renovating, and patio?
| | 04:55 | The last time I checked,
patio did not have a D in it.
| | 04:58 | And did you keep the G
in renovating and decking?
| | 05:02 | Or did your sentence sound like, wouldn't
you like to go out and start renovating
| | 05:06 | the wooden patio deck in?
| | 05:08 | Another common diction problem that
many people have is chewing their words.
| | 05:13 | This happens when the word "you" follows a
word that ends in a T or a D, like the
| | 05:18 | sentence we just practiced.
| | 05:21 | Did you say wouldn't you or wooden you?
| | 05:25 | Sometimes people have regional
dialects that affect how they speak.
| | 05:29 | Take for instance, what did you have?
| | 05:31 | In many parts of the country
that might sound like whadjahav?
| | 05:36 | Without a lot of practice, you probably
won't lose a regional dialect, but with
| | 05:40 | practice, you can certainly sound
more of what's called General American.
| | 05:45 | That's what they mean by no regional dialect.
| | 05:48 | My background is from the South, but on
camera I try to avoid sounding like it.
| | 05:54 | So avoid colloquialisms unless
they're germane to your topic.
| | 05:58 | Remember your audience.
| | 05:59 | They might not be from your neck of the woods.
| | 06:02 | You want them to remember what you
say, not the fact that you ain't from
| | 06:06 | around here.
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| Understanding body movement and prop handling| 00:01 | Quite often, on-camera
presenters have to walk and handle props.
| | 00:06 | By props, I mean anything that
you hold in your hands. Or you may be
| | 00:10 | interviewed on-camera where you have
to demonstrate something that involves
| | 00:14 | walking and handling objects.
| | 00:16 | As I mentioned earlier in the movie
about posture and stance, you want to avoid
| | 00:21 | rapid body movements.
| | 00:23 | So what should you do, and how do you
handle those props or objects like a pro?
| | 00:29 | When it comes to movement, one thing
to always try to do is to walk with a
| | 00:33 | purpose from one place to another.
| | 00:37 | This looks better than the walk to
nowhere, just to be moving. Any movement
| | 00:42 | should be motivated.
| | 00:44 | You also want to always rehearse
with the camera crew any blocking. That's
| | 00:48 | movie speak for movement.
| | 00:50 | This way they know in advance
where you will go and what you will do.
| | 00:55 | They will also tell you where you may
need to turn, stop or do something. They
| | 01:00 | may also put down pieces of tape on
the floor called marks to indicate to you
| | 01:05 | where you should be at any given point.
| | 01:08 | Your starting mark is always called one.
| | 01:12 | Subsequent marks will be numbered
mark two, mark three, and so on, so that
| | 01:16 | everyone knows the plan.
| | 01:19 | Video crews generally don't like
surprises when it comes to the talent doing
| | 01:23 | something unplanned. But whether the
talent blew a take or the camera operator
| | 01:27 | shook the camera, or the sound person
detected a noise, the phrase you'll hear
| | 01:32 | that tells everyone to get ready
for another take is 'back to one.'
| | 01:37 | When it comes to what to do with
your hands, again, remember the audience.
| | 01:41 | If the topic is fun, you can use your hands
and gesture more than if the topic is somber.
| | 01:47 | How much hand gesturing should you do?
| | 01:50 | Again, any hand movement should be motivated.
| | 01:53 | You want it to be natural to you.
| | 01:55 | Don't feel as if you have to gesture.
| | 01:57 | Some folks just don't talk with
their hands. Others can't say three words
| | 02:01 | without having to draw
their emotions in the air.
| | 02:05 | Here's a great tip for making sure your
gestures don't get too wild. Keep your
| | 02:09 | elbows tucked in and your
upper arms touching your body.
| | 02:13 | That way your hands and arms won't
flail all over the place like some kind
| | 02:16 | of cartoon character.
| | 02:18 | Sometimes we have to work with props, or
you may be interviewed about your job or
| | 02:23 | hobby that involves
doing something with objects.
| | 02:26 | The first thing you always want to do is
make friends with your props. Pick them
| | 02:31 | up, handle them, get familiar with them.
| | 02:34 | What you don't want to happen is
to pick up a prop for the first time
| | 02:38 | while you're on camera and have it come apart
because you weren't holding it correctly.
| | 02:43 | It's generally okay to look or glance
at a prop that's on the table, especially
| | 02:47 | if the audience can see it.
| | 02:49 | This is where having a
camera rehearsal comes in handy.
| | 02:52 | You should pick it up only if that's
the plan. And when you do pick up a prop or
| | 02:57 | an object, keep in mind that
the camera needs to see it.
| | 03:01 | Keep the prop close to your body or up
by your face, this is especially helpful
| | 03:06 | if you're promoting something.
| | 03:08 | The camera can get a tighter shot of
your face and this fabulous thing that the
| | 03:12 | viewer is definitely going to want
after seeing you smiling while you talk
| | 03:17 | about it and admire it.
| | 03:19 | Walking and talking and handling
props is not as easy as it looks.
| | 03:23 | In fact, it's rather difficult. But here
are a couple of tips to make the job easier.
| | 03:28 | You maybe able to set the props face down,
so you can just pick them straight up
| | 03:33 | without having to turn them over or around.
| | 03:36 | Then while you're walking and picking
up the props, bring each one up close to
| | 03:39 | your body and hold it still, long
enough for the audience to see it before
| | 03:44 | setting it back down.
| | 03:46 | I call this letting the prop land
with a definite stop. Don't just pick it
| | 03:50 | up and wave it around.
| | 03:52 | If the audience can't see it, they won't
want it, or they won't know what it is.
| | 03:56 | So hold it still, even for just a moment.
| | 04:00 | Have you ever watched a television
game show that had a gorgeous model in a
| | 04:04 | sparkling gown wave her
hands over an object of desire?
| | 04:08 | Anyway, if you look closely, you will
notice that the model rarely touches the
| | 04:12 | object, she merely waves her hand over it. And
if she does touch it, it's a very light touch.
| | 04:19 | This is called romancing the prop. And
men, you can do it too. In fact, it's a
| | 04:23 | great excuse for a manicure.
| | 04:26 | The more natural you make your
movements, the better you will look on camera,
| | 04:30 | whether you're a presenter or an interviewee.
| | 04:32 | Remember, the audience can see only what
you show them, and what the camera can get.
| | 04:37 | If you handle a prop the way you
would if you were showing it to a person
| | 04:41 | standing next to you, the viewer
probably won't get a good look at it.
| | 04:45 | So rehearse your blocking, know your marks,
and don't fret when you hear 'back to one.'
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| Preparing for an interview| 00:00 | It was Andy Warhol who famously coined
the phrase about everyone getting their
| | 00:04 | fifteen minutes of fame.
| | 00:06 | Of course, he was talking
about television in the 1970s.
| | 00:10 | Now decades later, there are infinite
outlets for appearing on camera somewhere.
| | 00:15 | It seems as if everyone on the
planet will be interviewed at some point.
| | 00:19 | Your moment may end up being only fifteen
seconds, but you'll want to be ready, right?
| | 00:24 | There are two basic types of on-camera
interviews for you to consider.
| | 00:29 | One will be for the news media.
| | 00:31 | The other will be for an
informational video of some kind.
| | 00:34 | While there are some fundamental
differences, there are many similarities in
| | 00:38 | how you do your part.
| | 00:40 | One of the similarities is that you'll
probably be talking directly to another
| | 00:44 | person, whether it's a news
reporter or video producer of some kind.
| | 00:48 | When you're talking to the interviewer,
you want to look mainly at him or her.
| | 00:53 | Try to avoid the distractions that
come from having a camera crew around, and
| | 00:57 | don't look into the camera.
| | 01:00 | You also want to let the
interviewer finish the question.
| | 01:03 | Just because you are anxious to answer,
it doesn't mean that you should jump in.
| | 01:07 | The editor needs a moment between the end of
the question and the beginning of the answer.
| | 01:12 | It's quite possible that in the final version
of the video, the question will not be heard.
| | 01:18 | A couple of other things to avoid:
addressing the interviewer by name, and using
| | 01:22 | phrases like, as I said
before or as I mentioned earlier.
| | 01:26 | The audience probably won't hear what
you said before and it makes them wonder
| | 01:30 | what they've missed.
| | 01:32 | A news interview anymore doesn't
have to be done with the reporter and
| | 01:36 | camera crew present.
| | 01:37 | Many news interviews are done
via satellite or over the web.
| | 01:41 | If your interview will originate from
your home or office, I recommend you
| | 01:45 | watch the lynda.com companion course
in this On Camera series called Video
| | 01:50 | Lighting for the Web.
| | 01:51 | It has some great information on
things like where to look and how to
| | 01:55 | prepare your space.
| | 01:58 | The news interview portion of
this movie is more involved.
| | 02:01 | So I'll cover the
informational video interview first.
| | 02:04 | For the most part, anytime you're being
interviewed for an informational video,
| | 02:09 | you can generally assume
that you are among friends.
| | 02:13 | These interviews may be for a company
video for your employer, or you may be the
| | 02:17 | subject matter expert, explaining
something to a producer who is doing research.
| | 02:22 | In these instances, you should feel
absolutely no pressure about getting it
| | 02:27 | right the first time.
| | 02:28 | (video playing)
| | 02:34 | You can also assume that any
mistakes will be edited out of the video.
| | 02:38 | These types of interviews are rather benign.
| | 02:41 | When I interview folks for this kind of
project, I will often repeat a question,
| | 02:45 | just to get a differently-worded answer.
| | 02:47 | I often also ask the interviewee to
give me the condensed version of their answer.
| | 02:53 | An answer that rambles on for a
several minutes may have some useable phrases
| | 02:57 | in it, but it's easier for me to
just ask them to give me a shorter answer.
| | 03:02 | Many interviewees want a list of
the questions prior to the interview.
| | 03:06 | You can ask, but don't feel
offended when you don't get them.
| | 03:10 | I avoid giving out the
questions for two main reasons.
| | 03:13 | I don't want the canned answers that
have been carefully scripted by someone.
| | 03:17 | I want a fresh spontaneous answer.
| | 03:20 | And I don't want to be limited to
asking just the questions on the list.
| | 03:24 | I want to be able to follow up on something
in the conversation that I hadn't planned on.
| | 03:29 | And that's an aspect of this type of
interview I want you to understand.
| | 03:33 | This is really just a conversation.
| | 03:35 | The goal here is to get real answers
and comments that ring true with the
| | 03:40 | appropriate emotion.
| | 03:41 | Now let's talk about that other
type of interview, the news media.
| | 03:46 | Please don't think that a news
interview is something to fear, unless you
| | 03:50 | have something to hide.
| | 03:52 | But do keep in mind that the news
media has a different set of pressures and
| | 03:55 | goals than the friendly
informational video interview.
| | 03:59 | Reporters are under a constant deadline,
and they generally need short,
| | 04:03 | to-the-point types of answers.
| | 04:06 | In the course of conducting many media
training workshops, I've developed some
| | 04:09 | tips that I call Media Survival 101.
| | 04:13 | The first thing is, always be
truthful, don't lie to the media.
| | 04:17 | They will double-check everything you say.
| | 04:20 | Don't make the story about you and your lie.
| | 04:24 | Establish a line of communication,
especially if the reason for your
| | 04:28 | interview involves a crisis.
| | 04:29 | (video playing)
| | 04:38 | Identify yourself as the point of
contact for all media interviews.
| | 04:42 | If you aren't that person, then direct
the reporter to the appropriate contact.
| | 04:47 | Whatever the reason for the
interview, maintain control.
| | 04:51 | You do this by preparing an
entrance and an exit strategy.
| | 04:56 | Let the reporter know how much
time you have for the interview.
| | 04:59 | Then when you want to end the interview,
you can announce that you have time for
| | 05:03 | one or two more questions.
| | 05:05 | This will help you save face in case
the interview starts going somewhere you
| | 05:09 | don't want it to go.
| | 05:11 | You don't want to look like you
were evading the tough questions.
| | 05:15 | Don't expect the reporter to give you
her questions in advance, but you can ask
| | 05:19 | for and check her press ID.
| | 05:22 | Any member of the working media will have one.
| | 05:24 | Yes it might be easy for someone to
forge one, but this signals to the reporter
| | 05:28 | that you are not to be messed with.
| | 05:31 | Asking about the reporter's deadline is a
great way to establish a spirit of corporation.
| | 05:36 | That doesn't mean that you have to care.
| | 05:37 | It just shows that you have an
understanding of her pressures.
| | 05:41 | Ask about the purpose of the interview.
| | 05:44 | If you know the purpose then, you
can anticipate the key questions and
| | 05:47 | prepare talking points.
| | 05:49 | Remember to be brief with your answers.
| | 05:51 | Go ahead and make notes in bullet-point form
for you to refer to during the interview.
| | 05:55 | Then don't volunteer
anything beyond what was asked.
| | 06:00 | That will probably result in a follow-up
question that may take you where
| | 06:03 | you don't want to go.
| | 06:05 | Never speculate, never say no
comment, and never go off the record.
| | 06:10 | When you speculate something
to a reporter it becomes a fact.
| | 06:14 | When you say no comment, you are
admitting that you're either hiding something, or
| | 06:18 | you're guilty of something, or both.
And you cannot initiate off the record.
| | 06:24 | You can't be in the middle of an
interview and call a timeout. And if a reporter
| | 06:29 | asks you to say something off the
record and you believe he will go to jail to
| | 06:34 | protect your identity, then talk all you want.
| | 06:37 | There is a game that
reporters play called the silent game.
| | 06:41 | Here is how it works.
| | 06:43 | The reporter asks you a question and
you answer it, but the reporter just looks
| | 06:48 | at you, leaving the
suppressive silence, hanging in the air.
| | 06:53 | If you're like most earthlings, you
probably have a desire to please and you'll
| | 06:56 | want to give more of an answer.
| | 07:00 | Well, the first person to speak loses the game.
| | 07:03 | Unless you say something like,
I see you have more questions!
| | 07:07 | Avoid acronyms, jargon, and technical terms.
| | 07:11 | Every industry has these, but the
public doesn't have a clue what they mean, and
| | 07:15 | that's whom you're really talking to.
| | 07:18 | Explain things as if you're
talking to a fifth grader.
| | 07:21 | Don't talk down to the
reporter, but do keep it simple.
| | 07:24 | It's not easy understanding
something new and possibly complex and then
| | 07:28 | telling others about it.
| | 07:30 | If things start to get heated,
take a moment and take a breathe.
| | 07:35 | Repeat whatever facts you've
already stated and don't get defensive.
| | 07:39 | Reporters will sometimes try to push your
buttons the same way kids do to their parents.
| | 07:45 | Just smile and take a breath.
| | 07:47 | They won't show you breathing on
National TV, but they will show you
| | 07:52 | slapping the reporter.
| | 07:54 | Always assume the camera is on.
| | 07:56 | Don't rely on seeing the little
red light on the front of the camera.
| | 08:00 | I leave mine turned off and so does
every news photographer I know, because I'll
| | 08:05 | get a more honest reaction from
you if you think I'm not recording.
| | 08:10 | The mere presence of a camera
changes people, we can't help it.
| | 08:14 | Also, remember that
microphones can be everywhere.
| | 08:17 | Not just clipped to your shirt.
| | 08:19 | The same types of long shotgun
microphones and parabolic dish microphones used
| | 08:24 | by the sportspeople are
also used by the news media.
| | 08:28 | But in the end, I really don't want
you to be afraid of the news media.
| | 08:32 | Every reporter and photographer I
know feels a calling to document the
| | 08:37 | first draft of history.
| | 08:38 | They're just doing their job. And as
I said earlier, it's not an easy job.
| | 08:43 | Unless you have something to hide,
they're really not out to get you.
| | 08:47 | They probably just need a few comments from you.
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