Friday, November 30, 2007

Created from thin air

Create a company; incorporate it, and loan it money - enough to garner your own attention (silly but useful - stay tuned).

This obviously is a pointless act unless the company is charged with a purpose.

Q. Even then, why go through all the crap about setting it up and such?
A. The entity now exists...

Wednesday, November 21, 2007

Eye tracking rules

(some of which are made to be broken).

Tim points us to a terrific summary of lessons learned from eye tracking studies.

The highlights, in alphabetical order:

Ads in the top and left portions of a page will receive the most eye fixation.
Ads placed next to the best content are seen more often.
Bigger images get more attention.
Clean, clear faces in images attract more eye fixation.
Fancy formatting and fonts are ignored.
Formatting can draw attention.
Headings draw the eye.
Initial eye movement focuses on the upper left corner of the page.
Large blocks of text are avoided.
Lists hold reader attention longer.
Navigation tools work better when placed at the top of the page.
One-column formats perform better in eye-fixation than multi-column formats.
People generally scan lower portions of the page.
Readers ignore banners.
Shorter paragraphs perform better than long ones.
Show numbers as numerals.
Text ads were viewed mostly intently of all types tested.
Text attracts attention before graphics.
Type size influences viewing behavior.
Users initially look at the top left and upper portion of the page before moving down and to the right.
Users only look at a sub headline if it interests them.
Users spend a lot of time looking at buttons and menus.
White space is good.

Tuesday, November 20, 2007

Consider the theoretical disadvantage

Okay, it's a simple idea:

If you're a real estate broker, you work in an industry where everyone used to charge the same fee: 6%. Now, though, discount brokers are turning up the heat on fees. Lots of brokers are unhappy with this.

The challenge is... what if you had to charge 7%. What if you had to charge more when everyone else was charging less?

What would you do? How could you make it worth it?

Now, just imagine what would happen if you did that at 6% or even 5%? You'd be unstoppable.

Similar idea, inspired by the crazy pricing of the Kindle: What if, when everyone else's blog was free, you had to charge money for yours? What would you do? How would you make it worth it?

By creating this theoretical disadvantage, you find yourself looking for ways to differentiate yourself and be better / offer more / deliver better value. Hmmm...?

That BeachPunk Idea

This BeachPunk entity often creeps its way into my head. So here is a ramble of content, direction and revenue notions.

Live streaming webcam of the beach and surf:
It is interesting etc to look at. It also shouts that this is current and actively managed. So many sites that seem useful / interesting are static and appear to have been the same for months. The site and its contents need to be current. People may visit occassionally just to see the ocean. Or not

Section about natural resources with links and articles that are "beach relevant".

Section about life on the coast; restaurants, homes, activities.

Section that is a social place? Can the beach be enough of a common ground to start such activity?

What else? Sex, music, surfing?

Ad space:
Would restaurants pay?
Would Real Estate Agencies pay?
Who would?
If Google Adwords or some other method of monetizing the site is all there is, it is a hobby, not a business.
What is the scope? Local? Regional? National?

Wednesday, October 10, 2007

Web site - good enough

Link to Seth Godin's piece

How to create a good enough website
For most people, that's all you need. A website that's good enough. Not that breaks new ground, establishes a new identity, discovers new ways for people to interact online. Just a good enough website that didn't kill you to launch.

To be clear, the following advice assumes that:

You're not trying to reinvent the idea of a web page--that the page is a means to an end
You work with other people
So, here's what you do. First, realize that traditionally, the job of designer has been linked with the job of programmer. There were very good reasons for this. Designing a page that can't work is silly, and changing the design every time you change the way the page works can be time consuming and expensive.

As a result, web design became a sacred art, one done only by the blessed few, in caverns far away from where mortals tread. In addition, it became expensive, because design changes (which marketers love to make) got in the same queue as programming changes.

We need to start by divorcing the two practices. There's no longer a really good reason for the two to be so closely linked, especially since disciplined use of CSS and testing pays such dividends.

Start with design. Don't involve the programming team until you're 90% done with the look and feel of your pages. It's cheap to change design if it can't by supported by programming, and cheaper and faster to have design done in Photoshop before you commit to cutting it up and coding it.

I'm going to go out on a limb and beg you not to create an original design. There are more than a billion pages on the web. Surely there's one that you can start with? If your organization can't find a website that you all agree can serve as a model, you need to stop right now and find a new job.

Not a site to rip-off, but an inspiration. Fonts and colors and layout. The line spacing. The interactions. Why not? Your car isn't unique, and your house might not be either. If you've got a site that sells 42 kinds of wrapping paper, why not start by finding a successful site that sells... I don't know, shoes or yo-yo's... something that both appeals to your target audience and has been tested and tweaked and works. No, don't pick a competitor. That will get you busted. Pick a reasonably small but successful site in a totally different line of work. Say to your designer: "That's our starting point. Don't change any important design element without asking me first. Now, pull in our products, our logo and our company color scheme and let's take a look at it."

At this point, some people are aghast! Shouldn't the web be a design contest on top of everything else? I don't think so.

Now, take your finished Photoshop pages and get every single person who can possibly veto your project to say okay. THEN give it to engineering to make it work.

[Boy, am I in trouble. People hate posts like this one. They read all sorts of things into it that I don't intend. I'm certainly not against bespoke design, or designers. I certainly don't believe that all engineers are bad designers or even difficult to deal with. The point of the post is most definitely not to encourage you to commit copyright violations or even ethical ones. It merely works to recognize two things:

1. If you are unable to agree on an existing site, you are sure going to spend a lot of time and money trying to agree on a custom one.

2. The process of design and user interaction is best done separately from the process of server speed, database structure and uptime.

Forgive me!]

Friday, September 7, 2007

Seasonal Business

I do not see (Amazon) a book about seasonal business. The topic is puzzling. This might be a good subject. Seasonal Business and the broader subject of Seasonality.

Some pieces are on the web:

Running a Seasonal Business

Find out what smart tactics these entrepreneurs use to ensure the success of their seasonal businesses.


URL: http://www.entrepreneur.com/management/operations/article175954.html

No matter what industry they're involved in, most businesses have seasonal highs and lows. Yet like Santa, some companies--summer camps, ski schools and Christmas stores, for example--depend heavily on the revenue generated during a single season to carry them through the year.

Typically, seasonal businesses fall into one of two categories: those that can shut down in the off-season and those whose owners have to find another way to maintain cash flow during the rest of the year.

Scott Stillings' business firmly falls into the first category. Owner of Winter Sports School at Nub's Nob ski resort in Harbor Springs, Michigan, Stillings says his business is a model of great cash flow. ''This is such an open-and-shut business," he says. "We balance our books every week, pay every bill and everybody each week, and when we close the door at the end of the season, we know right where we stand. There's no carryover.''

The staff begins preparing in September for the ski and snowboarding season, which begins on Thanksgiving weekend. Stillings says opening day is the school's busiest, followed by the days around Christmas and then President's Day weekend. "Then we stay at a manageable cash flow level [the rest of the season],'' he adds.

Because there's not much inventory and no permanent staff--Stillings hires more than 100 instructors each season--the doors close the second weekend in April each year. ''In April, we try to finish everything for the year and hash out what we should do for next year while it's fresh in our minds," he says. That includes updating literature, brochures and the website, so people can always access the next season's information.

"Then we don't do squat until August when we stuff brochures into envelopes,'' says Stillings. ''Most years, I can take the whole summer off if I wanted to. If it hasn't been a good year, I can always strap my guitar to my back and go off and perform as a soloist or in a band.''

Pinching Pennies
''Obviously, in a [seasonal] business, you need to budget carefully to make sure you don't overspend or extend yourself past your capabilities,'' says Dennis D. Vourderis, who, along with his brother Steve, owns Deno's Wonder Wheel Amusement Park on the boardwalk in Coney Island, New York. ''Maintenance, taxes and equipment financing all need to be based on a 12-month year, so you need to know you'll have enough funding to cover those expenses during the time you have no cash flow.'' Having good credit, he adds, is a necessity in a seasonal business.

For the Vourderis brothers, whose parents purchased the amusement park and the Wonder Wheel--a Ferris wheel built in 1920 and declared a New York City landmark in 1989--the busy season runs from April to October. ''We face the beach, so we're 100 percent driven by the weather," Vourderis says. "If the sun comes out, people come to the beach, the boardwalk and the rides. If it's raining, it's not even feasible to open." Since a year's worth of business gets squeezed into six months, every sunny day counts. Vourderis uses July 4 as a benchmark for being in the black.

During the off-season, Vourderis stays busy, as he, his brother and their trained staff dismantle the seats and other parts of the rides and store them in a warehouse where they're painted and undergo maintenance, repairs and inspection.

Maintenance, repairs and painting also occupy the winter months for Jay Kandle and his family, who run Lake Kandle Campgrounds and Swim Club in Sewell, New Jersey. ''We like to winterize in October, right after we close," says Kandle. "We also take care of the pool, put away the rescue equipment for the lifeguards, do landscaping maintenance, rebuild old picnic tables and so on. We prepare for the coming year like farmers.'' Kandle dedicates his entire year to the business, despite the fact he's only bringing in money from the campsites and swim club for close to eight months of it.

From tax planning to hiring staff, Kandle spends October through March gearing up for a season that will involve approximately 2,000 swim club members and campers visiting the 150 camp sites on nearly 20 acres. One thing that helps keep the Kandles in the black is the additional income they generate from renting out 40 additional acres of farmland, which, along with the campgrounds, have been in the family since 1892.

''My father and mother had the dream of opening a swim club and campground,'' says Kandle, who has taken a slightly different approach to running the campground than his parents did. ''In my parents' day, January would have been a lean time of year. But by marketing the swim club to attract more business and taking deposits now, we're able to increase our cash flow during the off-season.''


The off-season is also a time for seasonal business owners to handle the important decisions that'll affect business the upcoming season. ''From a managerial standpoint, I try to break the business into two interrelated areas, the business side and the operational side,'' says Ron Weinhold, general manager and head of operations at two Cal Ripkin baseball camps and tournament facilities in Aberdeen, Maryland, and Myrtle Beach, South Carolina. "The height of activity on the sales side is between October and June, and the height of activity on the operations side is between March and October. So even though our business is considered seasonal, it's very much a year-round operation, with key decisions made during the winter months."

The camps are also slightly different from some other seasonal businesses because of increased cash flow during the months preceding the camps. While the official camp season is visibly the busiest, off-season registration generates the bulk of their income.

Switching Gears in the Off-Season
Although many seasonal business owners are able to ride the revenue wave through the off-season months, some owners opt to switch gears. Whether it's to maintain more consistent cash flow, better utilize a retail location or create a little peace of mind, some seasonal business owners have alternate plans for the off-season.

The Christmas Dove stores in Barrington, New Hampshire; Ogunquit, Maine; Boston; and New Orleans, don't close down after the holiday, but instead undergo a transformation, capitalizing on consumers' interest in decorating for other holidays throughout the year.

"Halloween has become huge with people decorating their homes inside and out, going to parties and giving gifts," explains Garth Svenson, who now runs the family-owned business started by his parents. "People also decorate for Valentine's Day and put up lights for St. Patrick's Day and the Fourth of July."

Supplementing the biggest annual shopping holiday without straying too far and losing the Christmas store following has been a balancing act. But by taking advantage of consumer demands, they've been able to turn what was primarily a Christmas business into a year-round celebratory store.

Jan Axel, a long-time sculptor who took to landscaping after moving from Manhattan to South Salem, New York, supplements her Delphinium Design landscaping business with holiday decorating services. ''As a landscape designer, I found it got very slow in the winter, so a colleague and I started doing holiday decorating,'' Axel explains. Together, the two started Cirque de Botanica, a separate holiday design business. ''It was a natural spin-off, and the immediate gratification makes it very appealing. A lot of what we do as landscapers takes so much time; sometimes it's years before we see a finished product mature.

Besides filling a creative niche, Axel's off-season business also bridges the gap between the planning and design phases--which can take place in the fall--and spring and summer, when her planting crews are out in force, sculpting a wide range of residential gardens and landscapes.

The Year-Round View
With 13 stores in seven Eastern states, selling outdoor patio furniture peaks for retailer Patio.com during the spring as warm weather approaches. Then, as the weather cools and entertaining moves inside, there's a drop in sales.

To avoid having to lay off any of its full-time employees during the slow season, 10 years ago the company began offering top-of-the line pool, ping pong and foosball tables, as well as bars, barstools, and bar tables and chairs in their store showrooms during the fall and winter, transforming a seasonal business into a year-round enterprise.

In fact, the off-season pool table business has become so successful that Patio.com has become the world's largest Brunswick Pool Table dealer. ''It's taken a tremendous amount of work and a lot of training, but we've been able to turn Patio.com from a seasonal company into a successful year-round business,'' says the company's co-CEO Mitchell Ross. "All the salespeople have become experts in both patio furniture and pool tables. Our entire delivery staff now knows how to do pool table assembly and repair." In fact, they've been so successful at blending patio furniture and pool tables that Ross has wondered whether they should now call the business ''PatioandPoolTables.com.''

Whether your seasonal business is one that sustains you through the year or requires an off-season transition, it can provide great diversity--and even a little downtime--if you master the art of careful planning, scheduling and pacing yourself for the full calendar year.



Case study: How I manage my seasonal business

WHO: James Mekin-Hewitt of H2O Sports

WHAT: Poole-based watersports equipment retailer

THE ISSUE: Surviving year-round when running a seasonal business

THE SOLUTION: "We sell clothing and equipment for watersports such as surfing and diving. Our busiest time of year is between April and October, and on a typical Saturday in the summer around 500 people pass through our shop. In the winter, this figure will drop to just 50. We have two permanent members of staff who work all year round, but during the summer we take on a part-time employee to help us deal with the workload.

"We start preparing for the summer months well beforehand. We order stock early to take advantage of discounts and we organise payment plans of between four and six months. Most of the stock has arrived by Easter, but we usually receive our deliveries in three drops because we don't have lots of storage space. Once we've sold the stock from the first drop, we've usually covered the costs of the entire order so everything we make on the next two drops is pre-tax profit.

"We have a good overdraft facility with our bank, which we can dip into before the summer season. We may need it if one of our suppliers doesn't offer a payment plan or if we can make greater margins with a single stock purchase.

"Our rent is the same throughout the year and we put money aside in the summer to cover our rent in the off-months. We make extra money by subletting space to a sail-repair business and a wakeboarding school. We charge them more in the summer and this helps pay the rent later in the year when sales have slowed.

"Our three company vans are leased. Buying them outright would have tied up too much cashflow in the beginning, and leasing gives us flexibility; we can either buy them at the end of the leasing period or upgrade them.

"We earn extra money in the off-months by running watersports coaching holidays abroad. It takes us out of the country for free, which is a bonus, and it's very good for business because lots of customers buy our equipment to use on the trip. The surf clothing business is seasonal, but we also stock regular casual clothing which sells year-round. At the moment we're improving our website, which we hope will boost winter sales."

LESSONS LEARNED: "Cashflow is very important in a seasonal business, so don't get carried away and order too much stock. For some of our larger equipment, such as kites and boards, we'll sell and replace them as we go. Last year, we finished up with a little too much stock, which we had to sell at reduced prices. So be flexible when ordering things, otherwise your cashflow will be as unpredictable as the weather."


For Every Tourist Business There Is A Season

January 28th, 2007

All businesses have a seasonal ‘ebb and flow’ to their year, some kind of fluctuation in sales or activity that can be tied to the different times of year.

For those of us with tourism-based businesses located along the Blue Ridge Parkway, Winter is generally our ‘down time’, our slow season. Most Parkway businesses close officially on October 31st each year, although I don’t know anyone who can’t be persuaded to stay open an extra week or so if Autumn leaf season has been long or delayed, due to cold and resulting color changes. Parkway businesses will keep their doors open for, and keep taking money from, the droves of visitors driving our back roads during the Fall - as long as they keep coming. Some with strong holiday mail order businesses stay open through Christmas, and then close down. Still others stay open year round, but with reduced hours.

And then there are other businesses around here that only come to life for Christmas or Winter season only, like the Christmas Tree industry or Skiing. “Pick and Choose’ or ‘U-Cut’ Christmas tree farms are more popular than ever here in western North Carolina in November and December. I can’t say the same about skiing though. Although some areas of Appalachia were at one time historically popular during Winter as ski areas, more recently ’ski season’ has pretty much amounted to a few weekends of weather cold enough to manufacture a few flakes of snow. Any time I mention the movie, ‘An Inconvenient Truth,’ it’s amazing how quickly people seem to change the subject or get quiet. I guess no one wants to consider the affect of climate change on seasonal businesses in the Blue Ridge mountains….so we’ll save that for another time. And another post.

Sections of the Blue Ridge Parkway at the highest elevations are often closed during Winter months due to ice that rarely melts under areas shaded by pine trees. These sections of the Parkway are especially treacherous, all those beautiful overlooks beyond scary curves without substantial safety barriers. So from November through April, most people couldn’t get to their favorite tourist businesses even if they wanted. But since so few families travel the Parkway during Winter months, there simply aren’t that many people inconvenienced by the closings.

And so an economic slowdown is imposed on all of us along the Parkway.

Years ago, when we started our handmade soapmaking business, this slowdown time of year was a time to panic. A time to be fearful. Few people - and few businesses - have to learn to endure months with little (or no) income, and also learn to view that seasonality as ‘normal.’ And it took me a while, because I used to worry and wonder: Would our customers come back?

But after nine seasons, we know that they do come back. Year after year after year. And so we’ve also learned it’s especially important to use our down time to prepare for our customers’ return in the Spring.

These days, slowdown season is really only a slowdown of in-store visitors. We don’t shut down and go to Florida or travel cross country for a few months, like many of our neighboring tourism businesses do. Our website sales are year round, as is our wholesale business, and so packing and shipping of orders is part of our daily routine all twelve months of the year. Although we’re not open daily with regular hours during the Winter months, we are happy to open the shop to customers for appointment shopping.

Without question, the most important part of slowdown season is that it is a time of special projects. A time to focus on making decisions that require careful consideration and time to ’sleep on it’ - like changes in product packaging or price increases. Time for projects that demand concentrated energy and creativity in planning - like getting this Backroads Business blog up and running. Time to offer related services that that can be offered in different forms - like week long and weekend handmade soapmaking workshops. These intensive sessions are impossible to facilitate uninterrupted during busy peak season.

And it’s also a time for property renovations. Because what self-respecting vacationer comes to the mountains to ‘get away from it all’ and wants to deal with all that noise and dust and mess caused by construction and renovation? If they wanted to deal with drywall dust and the smell of stain and paint drying, they could stay home and renovate themselves.

And so what’s one way we can show our customers how much we love them?

We can schedule our renovation projects during OUR vacation time!

Tomorrow we begin renovation to expand our web order packing and product packaging area. This will also allow a ‘re-assigning’ of other rooms’ to various business functions. As any business grows, your procedures and processes change. In order to stay efficient (and sane), the physical layout has to change too. And in our case, as our web & mail order operation has grown, we need more space to store product, pull and pack orders, and ship. Yet we still need enough retail space for our drop-by customers to browse and select products when we are open full time during tourist season, May through October.

Next month we’ll see a reshuffling of the current retail area. I’m thankful all the soap is still made out in The Soap Shed, and we’ve got plenty of room out there to continue expanding as needed. But in the meantime, I’ve got two rooms of displays and furniture sitting out on our wraparound deck, taking the place of all those rocking chairs that customers were lounging in just a couple months ago. When it was about 40 degrees warmer!

I think we’ve got it rough sometimes juggling our seasonal business, but then I read about a fireworks factory whose product is only in demand certain days of the year! I don’t usually find much discussion about running a seasonal business and coping with its challenges. But I did find an interesting article on learning to budget year round and survive seasonal sales slumps.

Downtime or slow time for a seasonal business can also truly be a wonderfully creative time. What about thinking of how you might diversify the products you offer? How about brainstorming to see what other markets might be able to use what you make? Maybe there’s a new niche out there that would be able to use your product, if you made minor or cosmetic changes to ‘fit’ that new niche?

Asking these questions makes me realize that there is much, much more to say about running a seasonal business. So I will explore more - but in another post!


Seasoned Pros

Operating a seasonal kiosk keeps these partners on their mistletoes.


URL: http://www.entrepreneur.com/magazine/entrepreneursstartupsmagazine/2004/september/72328.html

Everyone knows the crazed nature that takes over gift givers during the holiday season. No one knows it better than Michael DeAcosta and his three partners, who staff their Santa's Pen kiosk from November 1 through Christmas Eve at the Park City Center in Lancaster, Pennsylvania. For seven weeks, their seasonal kiosk, offering personalized ornaments, stockings and frames, opens for business inside the mall and takes full advantage of the shopping frenzy that erupts every year.

Running their business during the busy holiday season requires staffing the kiosk during the mall's extended holiday hours. That makes Santa's Pen an extremely time-consuming commitment for the partners of Diversified Investment Group—DeAcosta; his wife, Theresa; and Rick and Shelley Bortz. Rick, 45, owns a construction company, and Shelley, 40, owns a hair salon, so they're already juggling entrepreneurial ventures. Theresa, 36, a stay-at-home mom, must balance caring for her children and working at Santa's Pen when the holiday season rolls around. Michael, 36, a full-time teacher who also has a DJ business, finds that during the time Santa's Pen is open, he's putting a total of 110 to 120 hours per week into all his jobs. "[The holiday] time of the year is when most people are gearing down and goofing off," says Michael. "We don't get to do that until Christmas is over."

Despite the long hours, the partners feel strongly that it's important to their success to have one owner at the kiosk with the employees at all times. In addition to staffing the kiosk during the seven-week sales season, the four partners begin preparing for the holiday season in October, ordering stock and gearing up. The actual holiday rush can be hectic, yet Michael points out that when it's over, "we can take a deep breath, relax, do inventory, and close the doors till [next season]."

Diversified Investment Group, which began operating its Santa's Pen kiosk in November 2002, had approximate sales of $85,000 for the 2003 holiday run. Their kiosk carries some 500 personalized ornaments that span hobbies, sports and professions, as well as personalized stockings.

In deciding to launch the business, Michael and his partners relied on their gut. Michael knew the company's founder and trusted her instincts. That trust has paid off, and today, the company is expanding beyond merely seasonal sales. This past year, when someone approached them about attending a big cheerleading competition, they attended as vendors. They were a huge success, ringing up sales for their large assortment of cheerleading items, as well as other sports-themed and Christmas items.

"Every woman who heads up a cheerleading competition was throwing cards at us and saying, 'We want you to come to ours,'" Michael recalls. Now they've been asked by a T-shirt silk screener to accompany him to a soccer tournament and sell their soccer-themed items.

That success has proven to Michael and his partners that demand for their products isn't limited to the holidays. "Depending on what you're selling, with a kiosk business, there are so many opportunities if you're willing to put forth the effort and time."







Monday, March 19, 2007

Film 1a

My First Movie: Taking Those First Steps
Part One: An Introduction
an article by Rob Lohman
They say the beginning is never easy. This seems to be at least partially true. It has taken me a long (and winding) road to get me to making my first little short (a short little movie). When I was in high school there where two things interesting to me: acting (which turned out to be a love of things visual instead of acting) and computers. Somehow I rolled into the computer branch and began my career as a computer programmer.

Move forward a few years later and this is what I am doing professionally at this very moment. How this all relates to my first movie? Well, the love of things visual never went away and by 2001, the year I was mostly 23 years of age, my collection of DVD's had grown quite large. I saw every "making of," if you get a chance rent the El Mariachi DVD disc. Watch the movie, then watch it again with Robert Rodriguez's commentary track and play his 10 minute film school extra. Now if this is too your liking I suggest checking out his book Rebel Without a Crew) and got more interested in making movies. All these years reading internet sites, books and magazines about the subject suddenly caused an electronic charge in my brain that I needed to do something. Why was I not doing anything with my information and love? No clue.

The Beginning
I am a firm believer in preparation and doing things the hard way. Learn a lot, do a lot, fail a lot and get good at what you do. I immediately decided things were required: books, camera and ideas. Bought myself a pile of books about directing, lighting, digital movie making, etc. A while earlier I already had begun writing down movie ideas, scene ideas, character ideas. Anything and everything that could come in handy some day (even things I thought would never come in handy). I encourage anyway who wants to make movies to start the habit of writing things down. In about a year's time, eight ideas have been written down by me, what I call large ideas (a movie, a TV show or a short movie). Next to that there are also numerous ideas that are committed to paper about all sorts of things. It might never get used (some if it already got used now), but there is a lot of stuff for me to fall back on later!

While reading all the books (and still continuing to read the articles on the Internet) my mind started thinking about a camera. After a month or two the choice had been nailed down to the Canon XL1S camera (PAL edition since I live in Europe). Why this one? good preparation! This is one important piece of it. The camera is well known for its beautiful picture, extendibility (different lenses, third party support etc.) and support from Canon. The only thing against it was the price. Everything in Europe is expensive, cameras included. Fortunately for me there was a heavy project at work during the last months of 2001. This allowed billing overtime to the company, in turn allowing me to buy the camera (together with some savings of my own). First week December 2001 I picked up my camera: happy day in my life!

After some two months of experimenting (December 2001, January 2002) I bought myself the Canon filter set containing the following: ND (less strength then on the manual lens), UV filter (filters out UV light and protects your lens from dust, scratches etc.) and a Circular Polarizer filter (this filter can be rotated so that you can remove reflections etc. on surfaces like glass and water. On a car window you can rotate it so that you see through the window into the car or that you see the reflection instead). All of these filters have been used on my little short movie, they came in very handy! The UV filter is on my lens permanently to protect it. Also bought myself a case for the camera (not a real camera case but a toolset case) which has room for cables, tapes, batteries and all sort of things that need to be dragged along for the ride (this turned out to be a very wise thing to buy as well, it protected my camera and allowed me to bring everything with me in an easy to move case). At this time there was no money left to spend so the tripod had to be borrowed from a friend, a Manfrotto (no fluid head unfortunately).

The Movie
The feeling came that I needed to do a movie. What about was the question. Some ideas where already on paper (as described above), but I wanted to start small and easy for a number of reasons. My friends and myself all have jobs or school, so time is limited. Furthermore it usually is wise to begin small (and thus also making small mistakes), which has some nice side effects: it will be much cheaper, easier and faster too make! While looking around in my country for film schools I might wanted to attend (there are only 2), one required a movie to be submitted (on a very tight deadline, but we will get to that later). This was interesting. It gave me an opportunity to make something that could also be used if deciding to apply for this school, also giving me a deadline in which to work to stimulate me further. Splendid! The deadline was 3 weeks away (that is a very short period of time). What was needed was a simple idea, easy to execute: a story about a burned out business man. It wasn’t a very big interesting story, but it allowed me to make the following shortcuts:

Easy access to locations:
Since I am a business man myself (where did you think part of this story came from?) there was direct access to all of my sets without needing to dress them. If asked gently we would be allowed to film at my own work. This was granted (swell). The other location was my own house (and my lead characters house) which was easy to use as well.

Traveling time:
Driving from my home to work is only a 15 minute drive. This was handy because my 2 person crew (friends of mine) could sleep at my house. The only downside to this was they had to picked up from far away and dropped off at the end of the weekend (some money went into car fuel here). This tremendously cut down on the time to shoot this movie. We shot this movie in 3 days, 2 of which we where at work.

Even though things were looking favorable two more things where cut: sound and light. While one of my crew (the lead actor) is an audio engineer (and had brought professional audio equipment with him) I decided to not use any audio. My idea was to let the movie be told from the perspective of the character, as if he was looking back on his own live. To add to this feel the movie is going to use music and VO (Voice Overs) of the character talking about his own life). Second, we probably would not have any time to do extra takes if the audio was not correct. Besides this I also choose to not use any additional lighting, due to a number of reasons. Money (of which there was not much left), no time to buy any lighting gear or rent it (which cannot be done easily here), and again the time that would be required to learn how to light and place these lights. These two things together saved me days of time (really). If I had not done this all the footage that would was needed to be shot would never have been shot, no way!

Equipment
The following equipment was used to make this short movie:

Canon XL1S PAL (standard 16x II lens)
Canon filter set (ND, Circular Polarizer & UV filter)
Manfrotto tripod (no fluid head)
Dolly (a little car from work with big wheels)
2 MiniDV tapes
Some power extension cords
Firewire enabled laptop from work (comes with my job)
Windows 2000 professional
Adobe Premiere 6.01 for editing

Pre-production
The total project was supposed to last three weeks, one and half weeks where spend on pre-production (idea, script, planning etc.). Came up with my basic story idea in a couple of days, putting it down in a couple of sentences. The next thing I did was to write down the number of scenes the idea needed, describing and numbering them (came to 20). although I had started writing a true script there was no time to finish it (had no vacation during my pre-production). This was mistake number one. I should have taken the time to write at least a very basic script outline (this should not take too long if you already have a scene/story outline).

One thing that triggered my slow script writing (and therefore running out of time) was language choice and my choice to do voice over. Since my native language is not English I was debating with my self to make the voice over English or my native language (Dutch). This together with actually coming up with voice over lines was too much in the small time available. From my first thoughts voice overs did not seem that more difficult than "normal lines". I was probably wrong in my assumption. It is probably "easier" (not implementing that the craft is easy!) to write character dialog then voice over dialog, because you do not want the voice over to be cheesy, easy and tell the viewer everything. It must, however, grab an audience, inform them and keep them interested in what they are seeing as well. This turned out to be more difficult than I had initially thought. It really became a double cutting sword. On one side it was working in my favor (not having to record audio on set) and on the other side it was working against me (more difficult to come up with interesting lines). This problem must still be tackled this very moment. Wish me luck.

My second mistake in pre-production was to not storyboard, mostly out of time constraints. The other part was a little arrogance from my part thinking that I had the shots in my mind and that the movie would not need that many (since it was a little short movie). How more wrong could I have been. I realized there was a problem after the shoot was over and editing had started. Suddenly there were scenes that could not be put together. Let me explain this a bit more with an example from my movie:

My main character has entered his work and is walking down a hallway. The camera is following him with a dolly down the corridor as he turns into a office room. This scene needs to be cut to a scene where he is working. The problem here lies in that I do not have any footage to go in between these two shots. It feels very unnatural to see a person walking down a corridor (with his coat etc. on) and then suddenly working. Something needs to happen in between. Now if the jump in time was bigger, say from leaving his home to working, that would have been acceptable. An audience just simply fills in the blank here. In my case the jump is just too small. It does not seem to work.

If there had been an storyboard session (even if it was rough with pictograms or something) this probably would have been noticed before it was shot. I am currently thinking about drawing some pictures, shots and sequences that where in my mind before the footage was shot to help me in my final editing moments. It can be quite disorienting to have a pile of footage and no visual guideline other then a scene list! Not every movie will need a full drawn out storyboard, but I truly have learned that it is a good thing to really think about how scenes and shots will connect to each other both before it is shot (also handy while you are shooting).

One final thing I did in my pre-production phase was planning: calling all the people again to make sure everyone was ready to go, writing a second scene list in the order I was planning to shoot it (instead of the order they would appear in the movie). Planning all the shots around locations is a good idea, it allows you to go through your sets as fast as possible. You also ensure that important things do not change in the mean time. First day and half were at work and the last day and a half at home. We started out at work because this was the most important set where we could only be at specific times. My own house was available to us whenever we wanted. This list proved to be a very good thing to make because everyone knew exactly when we where going to be where and what we were going to shoot. It also allowed me to track everything while my mind was in a thousand different places (working with equipment, instructing actors etc.). I am going to drop the bomb here. Take half of the scenes of the first day of shooting and mirror them on the second day of shooting, moving everything half a day back. Why? Two reasons. You are not going to shoot everything within your chosen timeframe so over calculate. Reason 2, your very first day (ever! Remember this was my first movie and perhaps yours too!) will be chaotic, disorganized and above all very informative and learning. That last part is a very, very good thing. It takes a lot of time though, so double half of your scenes from the first day to the second day.

Production (the actual shoot)
There we were. At my work with a car full of people and equipment (it was a small car). It was end of the afternoon of a Friday. Out three day shoot was about to begin, boy, was I nervous! For the first time in my live I was embarking on creating something of my own (truly my own) with the help of other people. We unpacked our gear from the car and headed inside, some co-workers interested in what was about to happen. Luckily for me not much people were around. When you set up your very first scene to be shot in your live, I don’t need anyone to watch other then the people who I truly need (and trust around me).

Only one scene got shot from the 3 planned the very first day, luckily for me the most important one: my main character working during the evening. The scene was shot in about an hour. The rest of the time was spent unpacking, fiddling with the tools, discussing the scene, instructing the actors and repacking the equipment. although this scared me off a bit at first it turned out all right the next day when we shot a heck of lot more scenes. We had gotten our important scene which we couldn’t do any other time (we needed an evening scene and only had access to work the next day during day time). The other scenes where miscellaneous scenes which could also be shot during day time.

I learned an important lesson here: as with everything in live it takes a lot longer then you initially think (or perhaps hope). Later that evening, after dropping of equipment at home, I took my crew (3 people total, including myself) out for diner in a very nice restaurant. We had a nice time eating, laughing and discussing our first day of shooting.

Do not forget to feed your crew! Sounds simple enough, and it is. Everyone needs food and drinks to survive the day. Your actors and other crew will be happier with a full stomach (not too full) then an empty one! For my movie I needed to shoot a short little lunch scene where everyone was eating around a table. Knowing this when scheduling my scene and knowing that we needed to lunch ourselves as well on Saturday I planned this scene in the middle of that day. Just before we needed to shoot this scene we went off to a bakery to get all kind of things for lunch. When all the crew (including the actors) and myself sat around the table to eat our lunch letting the camera roll (and moving it around a couple of times). This worked out very well! Together with fuel for my car these where the only costs I truly had. Pretty doable.

While filming the second day I made my next big mistake: forgot to bring an important piece with me: the lead character’s laptop (actually my laptop from work). It was still at home. Instead of going back to get it (which would have taken at least 30 minutes plus the time to get everyone working again) we found some old unused laptops and used that instead. No-one will probably notice the difference anyway since the focus is not on the prop, but on the character using it! During shooting I was also very please with my earlier made decisions to not record audio or do lighting. In simulating working (and phoning for example) the characters just talked about anything they want (some pretty hilarious things like trading an old car tire for a mother-in-law). The sound will not be used, so it does not matter! Together with not having to set up lights, which I have never done (so removing lengthy testing and fine tuning), this turned out to be great time savers. Without these "restrictions" the shooting would have never been completed in 3 days!

Together with my crew I learned a lot of things: thinking about how to shoot a scene, moving the camera around, doing more then one take, different angles to shoot at etc. etc. Listen to what you crew has to say, in my case they had some very good ideas! My first shooting experience has certainly been an exciting journey! I can still remember the thrill of seeing your first footage on the TV, raw, just shot. Together with my crew we watched the "dailies". It was a fun experience. Some things worked and looked great, others did not. One thing we all noticed immediately where auto focusing problems. These where most evident during our dolly shots down a hallway (these could have been shot in manual focus since the character keeps the same distance throughout the "walk") and shots inside an elevator (here the auto focus had difficult focusing on a light surround a button). Next time I will try to shoot as many things in manual as possible, otherwise beautiful shots look now rather dull. Oh well, this was mainly a learning process anyway!

This is it for the first installment, I hope everything was readable and you did not got an information overload. Next time we are going to talk about the editing process, color correction effects work and a bunch of other things. I promise to include a whole bunch of pictures then to balance out the text some more. If you have any comments (positive, negative or any you want to share), ideas, suggestions, remarks or questions you can reach me at visuar@iname.com