1. Pre-Production: Smith's first law of making a video - the time you spend not planning before you shoot is spent apologizing after you shoot. Pre-production includes all planning before you shoot tape - research and preparing questions; choosing co-producers and sponsors; finding equipment and arranging interviews, and preparing shooting schedule.

Video is simply communication - another way of talking to someone else. To plan a video, you have to decide what you want to say (what is your message?); who you want to speak to (who is your intended audience?); and how long you want to talk (what is the intended duration of your tape?).

When making your pre-production plans, you should consider six components: narration; visuals; interviews; music; sound, and text.

2. Production: In its simplest terms, a video is images and sound - reflected light and sound waves all captured electronically. Production is the actual shooting of a video. In the production stage, you take your equipment to the location, set up the camera, tripod, mics and lights, and shoot the tape.

In collaboration video, more tape is recorded than with a scripted video. This is a discovery process, as the producers find out what the people are actually thinking and saying.

3. Post-Production: Post-production is editing. The sophistication of the process can vary from hooking up two camcorders and using record/pause to a digital editing system with the potential of combining dozens of layers of video and audio.

At any rate, the elements you'll be working with include visuals; original sound-on-tape; music and natural sound, text/titles, and additional narration.

One way of approaching the editing process is to first perform a "paper edit" - watch your tapes (use a stopwatch or camcorder counter) and decide what you want to keep and in what sequence.

Depending on how much you have shot (and your storage space) you can only capture the essential footage or convert it all to digital for storage on a hard drive. You can plan to use the additional material to update your production without acquiring a lot of new material.

Secondly, you can perform a rough edit where you separate what you want to keep from the total material shot. The rough edit is only to help you "boil down" your original material.

Finally, you can put together the finished video by editing together the shots in sequence, adding music, narration, additional sound and text.

Using a computer for "non-linear" editing is similar to using word processing software. You can delete or move around material after you make your first rough draft. Copy, cut and paste commands are integrated with video and audio editing software.

1. Who is the audience? As precisely as possible, to whom are we speaking with this video?

2. What is it exactly that we want to say? Can we state our message in one, clear sentence?

3. How long should the video be? Will it stand alone or be part of a package with other productions (perhaps in the future)?

4. How will people see this video? Where will it be shown? Who will show it? How long will the video be useful?

5. Who will be speaking in the video?

6. Who among the co-producers will participate in the planning process? Who will set up appointments? Who will be present at interviews? Who will help edit the video?

2. Who is my intended audience?

3. What is the duration of the tape?

Production components described:

4. Text:

5. Narration:

6. Visuals:

7. Interviews/testimonials:

8. Music:

9. Natural sound:

When preparing a documentary-style video story, the visuals should tell the story. Don't overwrite.

Know where you are going before you write the actual script. What is the purpose of the video? Who is the audience? How will your audience be changed after experiencing the video? What is the sequence of shots making up your story?

Television news stories often follow a "w" format. They begin with the strongest image, then decline in force with background information, up again in the middle with perhaps a statement by a newsmaker, down again only to come on strong at the finish. An ideal TV news story would have no script, just visuals and actual sound.

At any rate, a video story should begin by orienting the viewer with an overall picture, and after presenting the story's sequence of parts, end with a strong summary. As someone once said, tell them what you're going to say, tell them, and then tell them what you said.

If you have a definite message to get across, try presenting it in different ways in the video. You might also try having the close echo whatever visual/audio you chose as an introductory "tease" to ensure your audience is going to want to watch.

A script for television is divided in two columns - audio on the right and video on the left.

The audio column varies from a one to three second line (timed as you read but consistent so you can visually time your script). It should be typed in upper case and double or triple spaced.

Don't overwrite. Keep your sentences short and simple. Write as you speak not as you write. Use contractions and everyday speech.

Remember the audio should interact with the video. It should not describe the video but rather add to the impression gained by the viewer. Wherever possible, let the video and actual sound do the talking. Remember audio edited over visual transitions helps the flow of the story.

Always read your copy as you write. Speak to your typewriter. If it's difficult to speak, it will be difficult to understand.

The video instructions in the left column can be typed or hand printed. The amount of instruction for (or by) the director/camera person can vary but a specific direction in the video column should be placed opposite the audio to which it refers. Arrows can be drawn from the video direction to the relevant positions in the audio script.

Abbreviations for video directions should be standard so all concerned will understand.

Directions might include types of shots such as: two shot (2-S: two people); three shot; establishing/extra long shot (ELS); long shot (LS); medium long shot (MLS); medium shot (MS); medium closeup (MCU); closeup (CU); and extreme closeup (ECU). Individual shots can be numbered in sequence and timed in a shooting script.

Camera and lens movements may be indicated such as pan; tilt; zoom; dolly; truck, and arc.

You might also indicate video transitions such as cut; mix; wipe; or fade and special effects such as freeze frame or changing the speed of a shot.

Titles, graphics and superimpositions are also indicated in the video column.

Tape can be sound on tape (SOT - tape with the natural sound shot during recording) or silent tape (SIL - video only). Silent tape will require a voice over (VO) by the narrator. These directions should be noted in the video column as well as dubbed music.

Besides using arrows drawn to sentences in the audio column, times of the video shots may also be indicated in the left column. For example: LS: Ice Fisherman. SIL/VO. runs: 30 sec.

This means we work, as sponsors and co-producers, throughout the shooting and editing to ensure that the final video is an honest and respectful sharing of the voice and expression of the participants.

Collaborative productions are midway between commercial video productions (where the sponsor hires a video production company and waits for the finished product) and participatory video (where the clients learn the planning and technical skills necessary to produce their own video with minimal guidance).

These videos stress communication between people and de-emphasize technology. Ryakuga experience is in grassroots community development - respecting local knowledge and helping ordinary people share their experience with others.

Two essential factors determine grassroots production - we work inexpensively and with the voice and expression of ordinary people, not actors or professional broadcasters.

The work is relatively inexpensive because the communication person works alone with a minimum of technology. This means that ordinary people don't feel threatened by a crew of professionals working with a mass of equipment.

It must be stressed that collaborative video production is a real partnership. As a co-producer, your group is asked to join the planning process; set up appointments; be present at interviews, and work together during the editing.

Although the style of a collaboration video is not static, there are some distinguishing characteristics of a Ryakuga production. First a narrator is rarely used, instead the voices of the participants themselves tell the story.

(Note: The concept of Ryakuga collaborative video was first developed in 1992. It's been evolving for the past 19 years. Each production is a unique increment of that evolution. So don't be concerned if you disagree with some of the opinions voiced here :)>

Our intent is to facilitate a process whereby ordinary people can share their experience so we don't use scripts or story boards; people speak for themselves.

We shoot a lot of tape making a collaborative video. Our co-sponsors are encouraged to discover what people have to say instead of deciding what will be said before the taping.

Partially because of the lack of a narrator, these videos are a combination of print, video and sound. Another function of print is to challenge the viewer/participant to think about or question the information being presented.

There is sometimes no music soundtrack. Natural or industrial found sound can be used to promote continuity. Identifying local musicians in the community and asking them to participate is an essential component of Ryakuga collaborative productions.

The intent is not to make entertainment television for passive observers. Visuals are not used to decorate the videos. Instead abrupt editing, including jump-cuts and cuts on action, serve as devices to jolt the attention of the viewer/participant. There's no need to cover-up or hide the editing of speech.

We don't try to make glossy, slick videos. The emphasis is on being honest and natural.

Similarly, we don't take ourselves too seriously. Collaborative videos are fun to make; we're not afraid of laughter.

Again, each collaborative video is different; the keys to production are flexibility and consensus.

Also in 1999 we are finding that there is an increasing need for video as a precise, to-the-point communication tool. The concept "executive memo with bullets" may be what your group needs to voice its message. In this context, scripts and narration can be very useful.

The three stages are consultation, taping and editing.

Generally speaking, we take care of technical aspects while, as a co-producer, your role is to decide what you want to say; who you want to speak to, and who will do the talking.

You probably should expect to spend five hectic weeks making a collaboration video - one week for consultation/planning and two weeks each for taping and editing.

Your colleagues should be aware that during this time frame you won't have much time for other job duties.

1. Consultation: As co-producers, we will discuss a series of prepared questions. Assuming you have already acquired funding, this is time to prepare for interviews and a taping schedule.

Ryakuga videos usually don't require a script or storyboard because our goal is to promote sharing of experiences rather than telling people what to think.

Nevertheless, it is useful to prepare questions based on your main points of communication.

Other duties include planning visuals, sound and music; arranging interview appointments, as well as booking transportation and lodging.

2. Taping: We will probably tape a lot so you should allow sufficient time for interviewing. Flexibility is important as we learn more about our community of focus. As co-producer, you are expected to take the lead in interviews (we can help, both with interview skills and during the actual conversation).

Time must also be allowed for taping local music, sound and visuals.

3. Editing: the last stage is a strenuous and time consuming mental exercise. First we catalogue all speech and visuals on our tapes. Then we perform a rough edit based on our main points of communication. The most relevant statements are categorized and arranged in sequence on paper before we can actually edit (selectively copy) the master tape. If you approach it like an intellectual game, editing can be a lot of fun.

Your essential responsibility will be to ensure that our collaborative production is an honest and respectful sharing of the voices of our participants.

With editing equipment, you don't have to worry what sequence you shoot in because you can join your shots in any order. You will be able to "insert" graphics, stills, slides or other video in your shots. You can also add music, natural sound and narration to replace or mix with the original audio. Software can be used to superimpose text on video.

Remember shooting for editing means getting background shots for inserts. Frame each shot carefully, checking for excess headroom and distracting background. Be sure to include a five second pad of running tape at head and tail of each shot - e.g. before starting a pan or an interview.

Editing takes a lot of time. You can save editing by preparation beforehand. Try watching your tapes and editing on paper. Time your shots roughly and then draw up a timed sequence of shots. You can also request a sequential "rough edit" of your final video.

While viewing your "rough edit" you can note whatever text (titles, subtitles and credits) you may want to use. You can also prepare a narration or "voice-over". Be careful not to overwrite. Remember the narration should enhance rather than replace your video.

Collaboration videos generally don't use narrators. Instead the participants are given the opportunity to tell their own story on videotape.

During all preparation for editing, try to keep track of your original plan. What is the purpose of your video? Who are you speaking to? How will they be changed by experiencing the video?

Be practical; try to keep your video short and simple.

Ten years ago it was common practice to try and keep the video under 20 minutes. In the late 90s, it's down to about seven minutes. Ten years later people talk of three minute videos.

Lengthy sequences of a visual or narration means a boring video and your message will be lost.

In simple terms, editing is choosing visuals and audio to record from a source video deck to a recorder video deck. Editing is selective copying.

1. The scene description is the place to describe what you are watching. If possible, note each shot (change of camera angle or framing of the picture) as a separate scene.

2. Your comments could say good if you think you want to use the scene; condition of audio; sufficient or not enough light; or if you think the scene may be used to open or close the tape.

3. Think about how you want your video to go together and where the scenes will fit in. Try arranging and re-arranging them on paper a few times before you come to the editing suite.