ISAIAH 9:10 JUDGMENT - Video Review and Interview With Producer Joseph Farah

In 1970 even the churches were not regularly taught the doctrine of the second coming of Christ more commonly known as premillennial prophecy. Then along came Hal Lindsey's block buster best seller, "The Late Great Planet Earth."

The nation and the world were catapulted into a revival of knowledge that even the Prophet Daniel proclaimed would not be well known or revealed until the last days. A few great works have been added to Lindsey's book and those who had only Clarence Larkin's 1918 version of "Dispensational Truth" were reinvigorated to begin again to start studying the subject of eschatology. (The last things)

Certain signs have been fulfilled in this generation that make it impossible to miss that the generation Jesus spoke of as the one sure to precede the second coming of Christ, is as the Bible says, "at hand."

Of all the latest signs and the greatest teachings and discoveries about Christ's imminent return in power that have graced this generation, none is more specific to America than the parallel Israel and America share in the passages of Isaiah 9: 10 and following.

Since online journalism often falls prey to the speed of surfing and the new lightning speed of digital browsers, I will state both early and emphatically; the Isaiah 9:10 prophecy/parallel is, without doubt, the most important and impressive discovery in this decade. It is a wakeup call that we can only ignore at our own peril.

It was apparent from the beginning that reviewing this documentary would not be easy and the standard review techniques would need to be suspended in lieu of some other means of elucidation. Joseph Farah is an articulate man who in this interview manages to touch on many of the questions anyone may think to ask, but to begin with we will use the four P's to introduce the production.

PRIMARY - In both Old and New Testament days the Lord made it clear to his apostles and prophets and servants that if they went unheard and subsequently unheeded that it was God that was being rejected not the servant. Under inspiration of God's Holy Spirit, God, his message and the messenger stand as one. That being said the primary here is Rabbi Jonathan Cahn. Jonathan is what is known as a, Messianic Rabbi, (Christian) whose message is heard daily on hundreds of radio stations across the nation.

President of the 'Hope of the World Ministries' Cahn is also the Senior Pastor of the 'Jerusalem Center/ Beth Israel located in Wayne, New Jersey. Cahn has ministered to thousands across the globe. He is the author of the bestselling book 'The Harbinger' which is subtitled "The Ancient Mystery that Holds the Secret of America's Future"

In a normal review we would hail the long list of accomplishments and roles the principle has played to accent his career. In God's economy he was only looking for someone to be obedient to what they saw or heard and in that vein Jonathan Cahn is best described.

What was spoken of about Cahn's ancient Father Abraham may also be said about him. Little more needs to be said for those whose pleasure it is to serve the living God. To Wit: "Even as Abraham believed God, and it was accounted to him for righteousness." (Gal 3: 6)

PRODUCER - Joseph Farah is the producer of the documentary and he is a man who hardly needs an introduction. As the founder and CEO of WND.com (Formerly- World Net Daily) a website that has recently been ranked among the top 500 sites in the world, he is well known for his journalism and his untiring pursuit of the truth.

Like many Christians Farah knows that Jesus said "And ye shall know the truth, and the truth shall make you free." (Jn 8: 32) When Farah decided that he would not hoard the truth to himself, but make it known to the entire world he became as Jonathan Cahn, a servant. Nothing speaks more about him than that. In the perspective of the Biblical worldview, that title, is the greatest he has ever been granted.

PREMISE - The documentary is used to show the parallel between ancient Israel and America. We are without doubt producing the same behaviors that Israel did before it began to fall under the judgment of God. Since both Israel and America were chosen to represent God's works and his message in our world it might seem apropos that we should both choose a similar path, but since it is a path to our own demise, it is anything but desirable.

In the last 24 hours before Christ's life leading up to and including his crucifixion he fulfilled some 25 major Messianic prophecies (Prophecies related to the first coming of Christ) against the odds of approximately 53,000,000 to one. The parallels between Israel's behaviors and America's reactions to the events of 9/11 have not yet been calculated in the math of compound probabilities, but if it were the odds would also be astronomical.

In the simplest terms - we are repeating the same behaviors as ancient Israel. The video fully explains these parallels, but much more than that, it indicates what we can do as individuals and as a nation to avoid the product of our behavior.

PRODUCT - All great portents are pretty much useless if all they do is entertain. The curiosity of the prophecies of Nostradamus, the sighting of UFOs, the pursuit of missing gospels and 'doomsday' predictions all have entertainment value, but they cannot be used to edify, guide or redeem anyone, thus they begin and end on the lower echelon of human influence we know as entertainment.

When signs or burning bushes are granted by God they have a much higher value. They are known as 'revelation' which means they are God's way of speaking to man. God doesn't just want to be heard like someone shouting over the crowd, he has no opinions or viewpoints. He is the author and finisher of all things, but he does want to make it clear that we play a role in the outcome of all that happens in our lives as individuals and collectively as a nation. This then, is the very heart of this documentary. It is a view of the terrible event we call 9/11 that when seen correctly, will serve to awaken us to our role, subsequent to that event.

It is God's way of saying - 'Now, what are you going to do about it!'

Bresciani - This is Rev Michael Bresciani of the American Prophet.org website and I'm interviewing Mr. Joseph Farah, the Chief Executive Officer of World Net Daily on his production of the movie 'Isaiah 9: 10 Judgment.' Welcome.

Farah - Before you get started I just want to say that, World Net Daily is the name of the website that most people are familiar with, on January first we changed it to WND, and officially we don't use World Net Daily anymore.

Bresciani - You know I should know that because I have a link to your site and a little logo on ours and it does say, simply, WND.

Farah - Old habits are hard to break.

Bresciani - The nine 'harbingers' are broken down into these categories, if I could say them quickly. 1. The Breach, 2. The Terrorist, 3. The Bricks, 4. The Tower, 5. The Gazit Stone, 6. The Sycamore, 7. The Erez Tree, 8. The Utterance, 9. The Prophecy. The first question I have is - it was the Rabbi, Jonathan Cahn who seems the be the person best versed in these harbingers, was he the one that discovered these or did somebody else find them with him, was there a collaboration or did he just come upon them - how did he discover them?

Farah - It is my understanding, although I never specifically asked that question of Jonathan, is that these were things he discovered, and I think I would be accurate in saying that he was led to these discoveries, by the Holy Spirit. He is a great student of the Bible and he is a student of the Bible in original languages and he sees a lot of deeper meanings, much more than the average English speaking Bible student and I think that certainly helps, for instance, knowing the difference between when you read in the King James Version of the bible that the sycamores were replaced by cedars. Well, cedar is not actually the word in Hebrew, it's erez tree, Erez is something, it includes the cedar, but it can be something, it's more generic than cedar and so when you see the sycamore tree in New York City being replaced by an erez tree, then you see the fulfillment of what appears to be prophecy repeating itself. So I think Jonathan is uniquely gifted and studied to be able to have made these discoveries.

The movie itself is a different kind of telling of the book he wrote, The Harbinger, and the Harbinger is a terrific book, but it is actually classified as fiction because it involves fictional characters. It's the telling of a real historical story. He does it in a way, a narrative form, that when I read it as a journalist, I said to myself, wait a minute, I'm afraid people are going to read this and think it's a nice book, but not get the fact that - its real, that its true.

I felt compelled to make this into a video documentary where we could actually show these events that took place because - seeing- is believing - for people. We increasingly live in a world where the visual is much more powerful for some people than the written word. So that was the genesis of the Isaiah 9: 10 Judgment. I knew the 'Harbinger' was going to be an incredibly successful book, which it has been and continues to be the number one Christian book in America this year.

Bresciani - That leads me into the second question I was going to ask you. How is it (The Harbinger) doing in the marketplace? I understand its rising again?

Farah - Yes, it's been consistently on the New York Times best seller list and it's really just a question of whether it's in the top ten or the top twenty five and that sort of depends on the exposure he (Jonathan Cahn) he is able to give it in media.

Bresciani - I had the feeling as I watched the documentary that it wasn't trying to be a 'prophecy,' it was being shown as a parallel, that we (America) are repeating a pattern, and no one could argue with that.

Farah - Well no, and if your familiar with the bible, you know that the bible is a book of patterns. And so it only makes sense that those patterns would continue into the future and to me this story, whether you read it in book form or watch the video, I have yet to see anybody come away with, well that's all coincidence.

Bresciani - Another question that came up is, I wondered if anyone involved like Sen. Daschle, Jon Edwards, Mayor Bloomberg, and the Governor of New York or anyone that's part of the documentary has been exposed to the video and have they made any statements or thrown back any reflections?

Farah - No, not to my knowledge, however, I will say this because this is the journalist in me, I have asked my team, my staff, to make every effort to try to reach out, particularly to Daschle and Edwards. I want to find out from Tom Daschle, who gave the first speech on September 12 and cited Isaiah 9: 10. I wanted to get somebody to talk to him or the aide or the speech writer that came up with that verse as the inspiration for his talk that day.

SUMMARY - The full length audio of the interview with Joseph Farah is 43 minutes in length and a great deal more depth and detail can be found in it, I strongly advise anyone considering the purchase of this video to listen to the entire presentation. It is totally free.

Everybody who watches this video will be impacted. Whether you are just curious about prophecies and how America fits into the biblical scheme of things, or if you are a solid student of prophecy you will be moved and enlightened and challenged by the obviously important message Jonathan Cahn is making in this powerful video presentation.

As a person with both a prophetic calling on my life and as a journalist I feel that our nation is sliding fast toward the place of no return, anything that serves to alert the nation to this misguided race to our own demise rates high on my list as important enough to declare and make known to other Americans.

I like to rate every film or production I review on a scale of 1 to 10. In all three categories, message, production and prophetic value I would be remiss if I did not give Joseph Farah's production of 'Isaiah 9: 10 Judgment,' a very strong - ten.

http://www.americanprophet.org has since 2005 featured the articles of columnist Rev Michael Bresciani along with news and reviews that have earned this site the title of The Website for Insight. Millions have read his timely reports and articles in online journals and print publications across the nation and the globe.

6 Tips to Survive Working As a Freelancer in the Film, Television and Video Business

1. Get the Word Out

Once you decide or the industry decides for you, that you are going to work as a freelancer, you have to become visible. Calling every TV station or production company in town and asking if there is work available will get you absolutely no where, except to annoy the person answering the phone. And resumes in the mail? They end up in the trash.

The simplest and easiest thing to do is social networking. Creating a profile on sites like LinkedIn.com, Mandy.com, Media-Match.com (Media-Match is a pay site, the others have free basic listings) not only helps to give you a place to show your stuff, it also validates you. Your profile on these sites holds more weight than a paper resume, it gives you more stars, so to speak. And it gets your name out on the internet in a searchable format-when someone hops on Google and types in your name, your Linked In profile comes up.

2. Being Paid-What Method?

I know this seems weird to be number two, but before you take your first freelance gig you must decide how you are going to be paid.

You have to be flexible, if you get freelance work at a TV station, then they are going to put you on the payroll as a W-2 employee. But what if you get a gig writing a script for a non-profit? How will they pay you? If have nothing setup prior, then you will have to fill out a W-9 tax form and give that non-profit your social security number. And guess what? They are going to report this income to the IRS on a 1099 form and they are not going to take out any taxes out for you, it will be considered Miscellaneous Income. So that means that YOU will be responsible for paying all of your Social Security Tax, Medicare Tax, (all that falls under FICA on a W-2) and your federal and state income tax. This is a very REAL problem in the freelance world and I have personally been on the wrong side of this, owing thousands of dollars to the IRS all at once.

The best thing to do is to sit down with an accountant and discuss your options. You may find a sole proprietorship that receives 1099's works for you. Or you may want to Incorporate, form an LLC or something else. And an accountant will help you figure out what purchases you can use as write-offs for your freelance work. I can not stress enough, that speaking with an accountant and having your payment strategy set up a ahead of time, will save you from grief and potentially owing thousands of dollars to the IRS all at once.

3. Being Paid-How Much? And what about Cash Flow?

This is the hot button topic around my office. And it is tricky to understand what goes for what. So you think, well I used to be paid X amount when I was editing for this TV station, so that is how much I am going to ask for as a freelancer. I wish it were that easy. Rates fluctuate dramatically but there are thresholds that line producers use. The best thing to do is to talk with others and ask, "What do you charge?" And be honest, if you are in the process of getting your first freelance gig and the producer asks, "What is your day rate?" say, "I don't have an established rate, I am flexible and I would like to work within your budget."

And what about looking up day rates on the Internet? The info never is accurate. Rates are subjective to what type of gig, location, distribution platform, Production Company, and on and on. You just have to get into freelancing and see what others are being paid in your field of expertise and your location. Ultimately it is what is comfortable for you.

Cash flow is also a huge issue with freelance only gigs or when you run a small business. Don't only accept gigs from large corporations. Why? They are slow to pay. And this is not because they are trying to stiff you or play the stock market with your money-large corporations have a system of check and balances for payment to outside vendors. It might take 90 days in some cases to be paid. So you have to pepper your gigs on smaller projects where you know you can get paid in 30 days or less.

4. Craigslist.com

Oh boy........ Online job boards like Craigslist, Production Hub, TV JOBS, and the many more out there are a great way to find gigs. And they are also teeming with seekers of free labor. I cannot count how many ads I have seen like the following: "Seeking crew with their own equipment for a TV pilot, web series or Music Video that will be the next greatest thing. It has been written by the most amazing A-List Hollywood people and has Hollywood stars/Director attached. Don't miss out on this once in a lifetime opportunity. Please send your resume, a link to an on-line reel and a total list of all of your equipment. No pay but we promise, meals, a copy of the DVD, exposure and ONCE IT GETS PICKED UP, we will definitely bring back all of the crew to work on the project."

Unless you feel like volunteering your time, don't fall for that. Because it will be nothing more than a volunteer gig and 9 times out of 10, it will turn out to be a nightmare.

BUT-student projects or people just getting together to have fun making a video or for a worthy cause-do not post promises of future paid work. They state it is a student or volunteer project. They will be upfront! And hey if you feel like throwing your hat in for the cause, by all means do it, it is a way to meet more people in the biz.

There are valid gigs on Craiglist. You just have to filter through all of the noise and respond to the ones you think are valid. Use your gut, if red flags are waving, then click off.

Look on Craigslist in the following sections: Under Jobs-TV/Film/Video, Under Gigs-Creative and Crew.

5. Managing Clients

Yeah you have your first gig! But oh no, you got a call for another gig and they are both on the same day!

Here is where the art of the "hold" or "penciled in" comes into play. So many times larger production companies, ad agencies, etc, will put a whole shoot together without having the 100% green light from their client. This happens more at the large corporate level than anywhere else. Or the producers for a reality show may pull back on a shoot at the last minute and only want two PAs instead of four. And national TV new outfits have a whole system of "hold" and "release" terms with payment ramifications and cut off times from a "hold" to a "go."

So what do you do?

Well first off, if you are booked and it is going to happen, then you are booked. You really have to weigh your options if you are booked on a gig and you get a call for another gig on the same day that is going to pay you a little more money or has better networking opportunities. You really have think hard about canceling on someone. How will it affect your relationship with that company or that person? This industry is very small, and word spreads fast if you don't honor commitments.

But let's say you are helping out your buddies on a short film and Martin Scorsese calls. Well, be honest and explain your situation to your friends and help them find someone else to replace you.

On the other hand if you are on a "hold" and another gig comes along, call the first gig and ask if it is really going to happen. If they can't give you answer or need more time, then tell them that you can take another gig so you won't be available anymore. Don't worry!! Producers deal with this all the time, you won't be black balled or talked bad about. The producer will respect your honesty. No producer or coordinator wants surprises; they want to know everything up front. And always say, "Keep me in mind for your next project."

And if you are working for a small gig, like writing a script, just manage your time wisely.

6. Insurance

Do you need to get a production liability insurance policy? Not unless you are going to be creating the entire production, hiring the crew, renting gear, etc. Then you are responsible for the production and you need it. You can't pull permit or even get on some locations without it. But if you are just being hired to be on the production team, then the production company will be responsible. And the production company should carry sufficient Workmen's Comp insurance in case something happens to you on the shoot. It is a gray area, but even volunteers on shoots can be covered under Workmen's Comp. Even if you are only on set for one day, you still will be covered. If you ever feel weird about a project, ask the producer if they have insurance. If they get mad at you for asking, then that is a red flag!!!

Medical Insurance on the other hand is the big issue. I still struggle with this. When I was at NBC as a freelancer, my union, NABET, worked with NBC so we could be part of the Entertainment Industry Flex Plan. I paid for the insurance, it was cheap because we were part of a large group and NBC managed the payments. And it was really great insurance. The catch was that you had to work so many days per year at a participating TV station to be part of the plan. When I left NBC, and after my Cobra ran out, I was faced with a huge dilemma.

There really is no one-way to go about this. And in some states, like Illinois, it is illegal for non profit member groups to come together and offer a group medical insurance plan. And if you have a pre-existing condition, until 2014, you can't get individual insurance; you have to be part of an employer group. The state of Illinois has an ICHIP program to help people like this, but prices vary.

Michelle De Long is the Executive Producer/President of Mimi Productions, a television and video production company in Chicago. Michelle spent 15 years as a freelancer at NBC News, has freelanced for ABC, CBS, FOX, Hallmark Channel, the City of Chicago and many other media outlets. Michelle has never had a "full time" job in her entire working career and has used that savvy to build her business, Mimi Productions, from the ground up. http://www.mimiproductions.com

What You Need To Know if Your Company Wants To Produce A Video

Studies show that people remember merely 20% of what they hear, and only 30% of what they see, and an incredible 70% what they hear and see. * With this in mind, it's no wonder why video is such a powerful communications tool.

So your company has decided they need a video. Where do you start? What questions do you ask? How can you make sure the final product is what you are expecting? This article will give you the tools you'll need to have a professional video project you can be proud of.

First, let's talk about money. As with most things, you get what you pay for. Especially with video production, if you make a decision to hire a production company solely by picking the lowest quoted bid, you will probably end up with a video that is much less than what you expected.

Remember, this video represents your company. Do you want your video to look like a high school A/V project? On the other hand, there is no reason to go crazy and spend ungodly amounts of money. It's important to find a company that gives a fair bid for the type of video you need and can produce your project in a professional manner.

Two Decisions

To start your video project, there are two decisions that you will need to make. First, do you want to hire an independent producer or a production company? Second, you will need to decide if you wish to receive your bid for production as a "Package Price" or "Piece Meal".

Independent Producer or Production Company?

Independent producers usually work for themselves and do not own any equipment. They generally rely on outside production companies to supply their equipment and crew needs. This means that if you have an immediate need, the producer is dependent on someone else to help service you. However, unless the independent producer is very busy, you should get good personal attention.

By hiring a production company, you can get a producer who is part of the production company that has the equipment and crew resources in-house. They can generally respond immediately to your needs. Depending on the scope of your project, a production company will either use an in-house producer or hire a freelance producer to coordinate your project.

Either way you decide, be sure you have an experienced producer to manage your project.

Two Ways to Hire

There are two ways of hiring a producer or production company to create your video: "Package Price" and "Piece Meal".

"Package Price"

A package price for the entire project is the way many videos are negotiated. For most situations it is the most logical. The client knows exactly how much to budget for, and the production company knows how much money they will have to work with.

If you choose this route, be sure to have a very clear bid with exactly what each side will be responsible for. The advantage for this is if the company requires to do more work than initially planned to finish what is described in the bid, they are obligated to do whatever it takes to complete the project. However, it is very important to understand that if you, as the client, request more than what is described in the bid, you would be expected to pay extra for your request.

"Piece Meal"

The other way to produce your video is "piece meal". Hire your production company by the day, or by the hour. This way, whenever someone is working on your project, you are paying for their time and only the time they are working on your project. Your producer should be able to give you hourly and daily rates and to estimate the total cost for the project according to your needs.

Your Producer

Whether you hire an independent producer or a production company, you should have an experienced video producer coordinate your entire project. Your producer should be available to you at any time to answer questions and to consult with you about any part of the production. Don't scrimp on your producer; they could make or break the entire project, and they should not be learning on your nickel.

Your producer's job is to manage the project from beginning to end. They are responsible for coordinating the scriptwriting, pre-production, shooting, and editing. Depending on where you live and his or her experience, you can expect to pay your producer between $350 to $1000 a day.

Scriptwriting

Scriptwriting is usually charged by a finished minute rate. For example, if your script is 10 minutes long and you are charged $200 per finished minute, your cost for a complete script should be $2000. A complete script should include all voice tracks and equally important, the video shot descriptions that match the voice track.

Shooting

Shooting is usually charged by the day. Depending on your needs, your shoot may be as small as hiring one cameraman with gear, all the way to having a complete crew that may include a cameraman, lighting director, audio technician, production assistant, teleprompter operator, make-up artist etc. Rates vary depending on your location, but it is standard to hire a strong two-person news style crew for $1,000 - $1500 per day, including professional camera gear, audio and a lighting package. On smaller projects, the shooter can also act as the producer.

Editing

Editing is almost always charged by the hour. For most all projects, a high-end digital (non-linear) editing system will handle your project beautifully. Depending on the system, you should pay between $100 - $200 an hour for editing, including an experienced editor that can make suggestions on how to make your project even better.

Finding a Production Company

Looking under "Video Production" in the Yellow page directories is generally a good way to find a local production company. Remember: just because the size of an ad is bigger for one company than another, it doesn't mean the production company is better.

Personal referrals sometimes are your best bet. But remember that this video will represent your company, so be sure you are referred to a professional video producer with experience and not cousin Billy who has a consumer camera and wants to get into the video business.

You can also search the Internet. One of the best sources for lists of production companies on the web is at http://www.mandy.com. There are many others sites with lists, but this one seems to be the best. Using search engines like Google to find production companies that have a presence on the web is also a very good source.

Awards

Has the production company won any awards for the videos they have produced? There are regional and national awards that producers can enter their projects. If your production company has won some critical acclaim, it's a good chance that they would be a good company to produce your video.

Quality and Format

Other than the producer's expertise, the quality of the final product depends largely on the equipment used to shoot, light and edit the video. For most corporate video projects (marketing, training, communications, etc.), commercials and television programs, the Betacam SP or DVCAM formats are the smartest choices because of their widespread compatibility. There are a number of new excellent broadcast digital video formats, like DVCAM, that are just now emerging on the market. From a client's point of view, Betacam SP or DVCAM or one of the new professional digital video formats (DVCPRO, Betacam SX, Digital Beta) will give you broadcast quality images. Even though Mini DV is quite an incredible format for the prosumer market, it doesn't have quite the quality of the professional formats.

Meeting the Producer

When you initially talk with your producer, be sure to ask some questions. But more importantly, the producer should ask you most of the questions and listen to what you want. This is your company's video and it's up to the producer to try to get in your head to give you a product that you want, not what the producer wants. Be aware if the producer tells you what you need without listening to what you are saying. At the same time, ask the producer for recommendations that would enhance the project beyond your video knowledge.

Set up a time to meet with the prospective producer. Meeting at your location is usually most beneficial. If you want a marketing or training video for your widget, it would be important for the producer to see the widget. Bring copies of videos you would like to emulate and tell your producer what you like and don't like about these videos. Be sure the producer brings sample tapes similar to the project you want to do.

Look at past projects your producer has completed. You should also call the producer's past clients to get feedback on their professionalism, work quality, and personality to understand what is was like to work with them.

Q and A

Your producer should listen to what your company's goals are regarding the video, ask a lot of questions, then give suggestions for the best way to produce your video within your budget. Often, your production company won't know anything about your business and vice-versa.

Questions to Ask Your Producer

What can I do to keep my costs down?

A good producer will help you keep the project within your budget. Some of the more common ways to save money are:

o shorten the length of the program,

o use fewer professional actors, and

o keep the shoot days to a minimum.

Holding a pre-production meeting to coordinate the project could save hundreds of dollars. If the shoot is scheduled at your company's location, try to do everything possible to facilitate the videotaping process. For example, if you are creating a marketing or training video for your widget, let your manufacturing line take direction from the video producers and allow disruption of their work.

What kind of experience does the producer have?

The experience of the producer relates directly to the quality of the finished product. Be sure to see examples of video work that the producer has personally produced.

Are there any extra charges?

Ask up front if there will be any extra charges. Some common extra charges: taxes, tape costs, mileage, travel expenses and duplications. It's important to understand that if you, as a client, make changes to the project that require additional work from the production company not originally agreed upon in the proposal, expect extra charges to apply.

What will you need from me?

You, or a representative from your company, will need to be an accessible contact person to help coordinate approvals, schedule shoots, and answer questions to help make the production process as smooth as possible.

Questions Your Producer Should Ask You

What do you like and dislike about other videos?

What do you want to achieve with this video?

Who is the target audience?

What do you want the audience to do after watching the video?

How will the tape be shown?

How many shoot locations are there?

Will we be shooting during business hours?

If we are shooting during business hours, are there any logistical concerns?

How long does the video need to be?

Will a company executive need to be on camera?

Do you need a professional on-camera talent or voice-over?

Who will write the script?

Will you need extra graphics or animations in the video?

Are there any other materials that need to be included in the video, such as photographs?

Final Points to Remember

An important point to remember, especially if you are a rookie at using video, is that communications is key to the success of your video. Your production company should be available at any time to answer any questions you may have. Your producer should be kept informed of the project's status and what the next steps are.

Television is a huge part of our lives and we are very accustomed to top quality programming. Today's audiences are sophisticated and expect broadcast quality video productions. If your video is anything less, your message and image will suffer greatly.

Remember to ask questions, be sure you are asked a lot of questions, and go with your gut feeling. Chances are you will end up with a great product and have a fun time in the process.

Please feel free to contact me at any time if you have any questions.

Greg Coon

Eyecon Video Productions

Dallas, Texas

214-368-3932

Toll Free (877) 704-1517

greg@eyeconvideo.com

http://www.eyeconvideo.com

*Source: Harvard Business Review

Greg Coon is the President of Eyecon Video Productions, a professional video production company based in Dallas, Texas.