Here we go again on another brave wading expedition into the watery world of
streaming video in the legal community. Each month we investigate the latest in law
firm, court, and law school “webcasts” — video over the World
Wide Web.
This edition, we depart from our normal format to shift our POV in front of the
camera to answer a question every client asks. If you were about to be interviewed
on camera, you too would want to know: What to wear on TV?
LOOKING GOOD ON SCREEN
The question applies to webcasts, too, many of which consist of interview or
podium coverage. Of course, TV cameras are different than the digital video
cameras typically used for webcasts (or any kind of web video, streaming video,
etc.). Here are a few tips (for both types of camera) to help improve your results
from a TV interview or webcast shoot.
CLOTHING
For the most part, the legal environment encourages people to dress well. Generally,
office dress and normal makeup look fine on camera.
Be conservative in dress, makeup, and jewelry. (The LMA listserv recently had a
good tip: Dress like you’re going to a nice restaurant, not a cocktail party.)
Men should keep their jackets buttoned. Bright colors express confidence. If you
don’t wear makeup, wash your face before the shoot to avoid shine and/or
blot with tissue when you can.
Avoid stripes and small patterns (moiré warning!); solids work best. (Patterns also
make streaming video compression harder.)
Color caveat: Certain colors become blotchy on video. Red is the biggest problem
-- don’t wear large amounts of it. (A red tie is fine, or a red top under a
jacket, but don’t wear a red sweater or jacket — you will glow!) White
and black can present similar problems.
EYEGLASSES
Usually, glasses are not a problem. But lighting may lead to reflection issues;
sometimes this can be solved with hair spray to dull the glare. Consider simply
removing them (but not if they make you look like a deer caught in the headlights).
Perhaps turn them to your advantage and make removing them a meaningful gesture
on camera.
BACKGROUND
You have great control over one important aspect of the picture you create —
the background. Choose a backdrop that doesn’t move; background activity
will distract the viewer (and a drape blowing in the wind will create havoc with
streaming video compression). Common backdrops are an office interior (speaker
sitting or standing behind the desk), conference room (view out the window), library
(law books), office or building lobby, in front of building, or visiting client facilities
(construction sites, factories, etc.). All of these present their own challenges with
lighting, noise, interruption, glare, etc. Consider the background when planning
your attire.
Whatever background you choose, take some time to optimize it. Eliminate clutter,
reconsider wall hangings, straighten up the desk, remove furniture, bring in some
art, etc. The computer screen in the background might seem like a good idea, but it
will strobe due to screen refresh. Either make sure this can be handled in post
production, or turn the computer off.
LIGHTING
Good lighting will improve color and visual quality, making you look better. It will
also reduce visual ‘noise’, making streaming video compression
easier. Standard office overhead lighting is unflattering on camera and tends to
flatten one’s face. (Fluorescent lights will turn you green!) If you’ve
got the budget, insist on 3-point lighting with tungsten lamps.
For the typical office, either:
- open drapes and shades to maximize window light.
- choose a location with strong natural light (perhaps outdoors).
- listen when your videographer recommends bringing in tungsten movie lights.
Video cameras tend to reduce depth. This problem can be aided by lighting
surfaces in the foreground and background or by placement of colorful or visually
interesting objects.
POSTURE
Sit up straight! Lean into the camera. Don’t move your head while speaking
on camera and make your gestures small. TV news has trained us all to expect
talking heads to stay still.
Look at the camera. Documentary filmmakers may argue about this, but for an
interview or any Internet purpose, you want to emphasize the one-to-one nature of
the communication. My recommendation: Speak directly to the viewer by looking
directly into the camera lens.
PREPARE!
Clarify your message. Plan your opening and closing. Remember the power of
humor and know when to smile. Plan, plan, plan.
Rehearse! Memorize your lines; trying to read from large-print notes will make you
look shifty-eyed. Practice your actions, facial expressions, and eye movements.
Speak clearly with a deep, level tone.
COMMUNICATE!
Inform your staff and schedule ‘no interruptions’. Appoint one person
to interact with your videographer or manage the production team.
Once I planned a webcast shoot for Wilson, Sonsini to exploit the attractive and
distinctive ‘deal cubes’ they make as mementos of successful closings.
A week later, I arrived with camera and crew only to learn that they had made a
policy decision to exclude the deal cubes from the video. Needless to say, time was
wasted shifting gears.
DAY OF THE SHOOT
At the location, turn off office and cell phones. If possible, unplug some appliances
to open up outlets for camera and lights; have an extension cord handy. Put a sign
on the door: “Filming, Do Not Disturb”.
You are the boss! Take a break when you need it — your stress level is a vital
constraint. If you flub, say ‘Cut’ then take a breath and start over (of
course, don’t do this if you’re filming live!). Ask for another take if
you can do it better.
Now try to resist making “Action!” your favorite new word.
Too many webcasts, not enough time.
If you see streaming audio or video you
think would be of interest to our readers, please
URL and description.
Has your firm produced a webcast? We want the details!
If you'd like a clickable list of the web addresses from this and past columns,
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