• What is the purpose of this video — inform, inspire, promote, document, or celebrate?
• Who is the audience? Age, context, and what do they already know about this topic?
• Where will this video live? Event screen, website, social media, email blast?
• What is the hard deadline for the finished video? Are there earlier review deadlines?
• Can you share any examples of videos you love? What specifically makes them work for you?
• Who are the decision-makers? Who needs to approve the final video?
• Are there any brand guidelines, logos, colors, or music we need to use — or avoid?
• What does "success" look like for this project? How will we know it worked?

If your project involves recording interviews (the most common DCS video project), add these:

• Who are the interview subjects? How many people total?
• Can we send them the questions in advance, or will it be unrehearsed?
• Where will interviews be recorded — at the WILC, client's location, or a third site?
• Should each interview be standalone, or woven together into one video?
• Is there a specific story arc or key message each person should hit?

If you're filming a play, musical, or live event:

• How many performances will we film? (Multi-camera from multiple shows is ideal.)
• Will we have access to a dress rehearsal for camera blocking?
• Are there lighting or audio feeds we can tap into from the venue?
• What is the final deliverable — full recording, highlight reel, or both?

Your brief should cover all of these. No blank fields — if you don't have the answer, that's a question for your next client touchpoint.

For interview-based projects, write your questions before the shoot. Share them with subjects in advance so they can give thoughtful answers — but keep a few unscripted to capture authentic moments.

Structure each interview arc: Open with identity (who are you, what do you do), move to experience (your specific story), close with meaning (what does this mean to you or others). This gives the editor clear building blocks.

A shot list is your blueprint for production day. For every scene or moment, document: shot type, subject, location, and any special notes.

B-roll is the supplementary footage that covers your interviews — hands working, locations, objects, reactions, details. The rule: if you're going to mention it in the interview, you need footage of it.

• Created a shot list in Google Docs or Sheets with all planned interview setups
• Identified at least 10 specific B-roll shots to capture on production day
• Confirmed interview subject names and how they should be identified (for lower-third graphics)
• Shared interview questions with client for approval
• Roughed out a sequence / story structure for the final edit

Every confirmed date goes on your Google Calendar immediately — that's a Standard 5 professional skill. Include: subject name, location address, call time, and contact number in the calendar description.

• Production date(s) added to Google Calendar with full details
• All interview subjects confirmed (name, contact, call time)
• Location confirmed and scouted (in person or via photos)
• Coordinated gear and schedule with Shawn FitzGerald
• Confirmed who on the team handles: direction, camera, audio, subject coordination
• Client has approved final shot list and interview questions
• Post-production deadline reverse-engineered: edit time, review time, delivery time

• What should our setup / arrival time be — how long does it take to build the set?
• What do you need from us ahead of time? (Location walk-through, contact for building access, etc.)
• How will we divide camera and audio duties on set?
• For studio shoots with the Panasonic G7 kit, which lens and lighting setup should we use for interviews?
• What's the file transfer process after the shoot? How do we get the footage?
• What editing software do you recommend for this footage?
• Is there anything specific about our location or project type we should plan for?

For theatre projects, Shawn FitzGerald is your technical partner on set. For studio-based video work, Russ can mentor you through our Panasonic G7 production kit and help you choose the right camera, lenses, audio, and lighting workflow.

Three settings control how much light hits the sensor. Get these wrong and you have footage that's too dark, too bright, or too blurry to use.

• Rule of Thirds: Place the subject's eyes along the upper-third horizontal line, not dead center
• Headroom: Small gap above the head — don't crop the top of the skull, don't leave acres of empty ceiling
• Looking Room: The subject should look into the frame, not out of it (nose points toward center)
• Eye Line: Decide — looking slightly off-camera (more natural) or directly at the lens (more direct/testimonial). Be consistent.
• Background: Is it clean, intentional, and free of distractions? Does it tell something about the subject or project?
• Focus: Eyes are sharp, background has some blur — the viewer's attention should be on the face

• Not monitoring through headphones during the shoot — you can't catch problems you can't hear
• Lav mic under heavy fabric — causes muffled, rubbing sounds with every movement
• Filming near HVAC vents, refrigerators, or busy roads — constant background hum ruins the track
• Large empty rooms with hard floors and walls — echo will make audio sound hollow and unprofessional
• Audio levels too hot (peaking) or too quiet — aim for -12dB to -6dB peaks, not hitting 0dB

The industry standard interview setup uses three lights. Shawn's LED panels can be configured this way in almost any location.

If you don't have LED panels, window light is your best free option. Position the subject at 45° to a window — the window becomes your key light. Use a white foam board on the opposite side as a fill reflector.

• Subject in front of a bright window — they'll be silhouetted. Move them away from it, or close the blinds.
• Single overhead fluorescent as the only light source — creates unflattering shadows under eyes and chin
• Mixing color temperatures — warm tungsten lights + cool window light = orange + blue skin tones in the same shot
• Light shining from below — looks like a horror movie. Always light from above or at eye level.

• Arrived early with Shawn — location accessed, gear unloaded
• Camera batteries charged, memory cards formatted (not just erased — formatted)
• Interview position set up — background clean, furniture arranged, distractions removed
• Lights positioned and color temperature matched
• Audio test: mic placed, headphones on, levels checked with a stand-in
• Test recording reviewed on the camera screen — exposure, focus, framing confirmed

• Slated each take: say the project name, subject name, and take number before rolling
• Let subjects settle — allow 30 seconds before the real content starts
• Got 5–10 seconds of complete silence before and after each answer (for editing room)
• Captured B-roll: wide establishing shots, close-up details, hands, reactions, signage
• Thanked every subject and confirmed follow-up (they may want to see the final product)

• Footage downloaded to at least TWO locations before leaving the set
• Files renamed with project name, date, and camera identifier
• Sent client a same-day "production complete" message — brief, professional, with next steps

Create this folder structure before importing a single file into your editing software. Name the top-level folder with your project name and the year.

• Created project folder structure above before touching any footage
• All raw footage copied to 01_RAW_FOOTAGE — original cards not reformatted yet
• Backup copy of raw footage confirmed on a second drive or cloud
• Files renamed clearly: PROJ_SubjectName_CamA_001.mp4
• Client logos, brand assets, and any licensed music collected into 04_GRAPHICS and 05_MUSIC

Recommendation for this project type: Use the tool that fits your workflow best. Avoid CapCut desktop for critical exports unless you are sure it will not add watermarks. Ask your mentor what they recommend for your footage and delivery goals.

• Color correction applied: white balance set, shadows/highlights balanced, skin tones natural
• Audio levels consistent: dialogue at -12dB to -6dB, music at -20dB or lower
• Lower thirds added for every interview subject (name + title, client-approved)
• Intro / outro graphics match client brand (logo, colors, fonts)
• Music fades in and out naturally — not cut abruptly
• Final runtime falls within the target length from the Creative Brief

Don't just email a file. Use a tool that lets the client watch it in their browser, comment at specific timestamps, and respond without downloading anything.

For Vimeo Pro uploads: log in to the team account, choose New Video → Upload, switch the account from AM DCS to Waukee APEX contributor, and send uploads to Associate Uploads. Ask your mentor for the correct Vimeo access details if you don't already have them.

Don't say "let me know what you think." That produces vague, unhelpful responses. Instead, ask structured questions:

• Does this video accurately represent your organization's message and tone?
• Are all key messages from the Creative Brief present and clear?
• Are there any factual errors — names misspelled, wrong titles, incorrect information?
• Are there any legal concerns — logos, music rights, subject consent?
• On a scale of 1–10, how close is this to the final version you imagined?

Your Creative Brief should have specified how many revision rounds are included. Hold to it — scope creep is how projects become unpaid overtime.

• Rough cut shared with structured feedback questions and a response deadline
• Feedback collected in writing (email or shared doc — not verbal, not text)
• Revisions logged in a shared doc so the client can confirm each change was addressed
• Russ informed of any requested changes that fall outside the original scope

• Final video exported at the correct specs for all requested formats
• File delivered via Google Drive shared folder or Vimeo link (not email attachment)
• Project folder archived and backed up — don't delete anything until the client confirms receipt
• Client sent a professional delivery email: link, brief description, what to do if there are issues
• Sent a handwritten thank-you note to the client (yes, real paper — this is the 5 & 10 Rule in practice)
• Received client confirmation that the final deliverable was received and accepted