7 days of unlimited video, AE, and Premiere Pro templates - for free!* Unlimited asset downloads! Start 7-Day Free Trial
FREELessons: 14Length: 1.4 hours

Next lesson playing in 5 seconds

  • Overview
  • Transcript

2.2 Talent

If you intend to be behind the camera to guide the direction of your instructional video, you are going to need some talent in front of the lens. In this lesson you will learn what you need to consider when securing your talent, and how to sell them on the idea of working with you.

2.2 Talent

If you intend to be behind the camera to guide the direction of your instructional video, you're going to need some talent in front of the lens. In this lesson, you will learn about what considerations need to be made when securing your talent, and how to sell them on the idea of working with you. Over the years, I've created videos with actors, musicians, and regular working folk, like you and me. For this project, I wanted someone who had an above average level of experience in baking. This would save me time researching recipes and baking techniques. I also wanted someone who would be good on camera. Now, this idea of being, quote unquote, good on camera, is a little bit ambiguous. From my experience on both sides of the camera, I can get a sense of how people respond in conversation, how they react to changing circumstances, and how they interact with people out in the real world. All of these elements factor into how I think someone will handle themselves on camera. You would think that it comes down to good looks and confidence, but this is not always the case. Sometimes, people who are confident in real life, have a nervous breakdown when they get in front of the camera. And sometimes, they are perfectly at home. Good looks are always a plus. But being confident on screen is much more important. When you are trying to find talent for your productions, the best method is to get a personal reference. That isn't always going to work. But when you can use talent that comes with a good recommendation from someone you trust, you should. Going with an unknown is a big gamble. I recently did a instructional video with a make-up artist that I had never worked with before. I had tried to book a different make-up artist that I had worked with several times on photo and video shoots, but she was unavailable. I then reached out to my colleagues for recommendations, but that didn't work out either for one reason or another. Through a few web searches, I ended up finding a local makeup artist named Eva Jewel. After I got her interested in the project, I met her in person to get a sense of what she would be like on camera. She seemed to have the right attitude and confidence, but there was still a level of risk asking her to work on the project. She hadn't been on camera before, but with a little direction, it ended up working out pretty well. You can check out Eva Jewel and myself in that makeup course on tutsplus.com. With these things in mind, I wanted to pitch the idea to Sheryl Ziggler, a friend of mine, and see if I could sell her on the idea of being the presenter for this instructional baking video. I have known Sheryl for four or five years now. I'm not close friends with Sheryl, or her husband, but I did know that she bakes pies and sweets around the holidays as a side business. I also know that she has a bright, cheerful personality that I thought would be great on camera. I made sure to tell her this in my pitch and explain the goals of the project. In my experience, when you tell people the vision for your project and how you see them fitting in to fulfill that vision, you have a better chance of success. It's all about painting a picture of how their gifts, skills, talents, and experience make them uniquely qualified for the project. This got Sheryl interested in the project, and the next step was to flesh out the idea with her. I wanted to take a more collaborative approach with the content of this video. So, when I was going over the details of what I wanted her to do, I made sure to ask her to create a basic script for the production. I wanted her to be comfortable with the material and present it how she normally would. The client didn't have any specific language they wanted included in the script. But they did want to look it over and make some notes before I shot. I made sure that Sheryl knew that the client and I would make some edits to the script that she created. I wanted to get this idea out in the open because sometimes people can get really attached to their work and they're not very flexible with changes. I didn't think that this would be an issue with Sheryl because I know her. But it's always good to keep communication flowing so everyone is comfortable with the expectations. A few emails back and forth, and we settled out the details of her working on the project. I left her to start working on the script, which she was going to send me in a few days. You will learn how to approach scripting in the next lesson.

Back to the top