‘Hot For Words’ is a smash hit Web series. If you haven’t seen it yet where’ve you been? According to Tubemogul as of today ‘Hot For Words’ is registering a massive 225,901,955 all time video views and in the past 30 days alone, 13,065,929 views, ranking it as the Number 4 show globally.

With the tagline ‘Intelligence is Sexy’ the show is presented by the fabulous Russian host Marina Orlova and each show focusses on Marina explaining the origin and meaning of a Word.

I spoke to Marina about the making of her Web show and here is the Jules TV exclusive interview which has some Hot Tips for videomakers.

JTV: Right back at the beginning how did the idea come about for ‘Hot for Words’?

Marina: I have two degrees in philology which is the study of the origins of language. I’ve always been fascinated with the origins of words and I wanted to share that fascination with as many people as I could, and when a friend showed me YouTube in December of 2006, I thought.. WOW, I can tell perhaps thousands of people about etymology. I never thought that my videos would end up being seen over 220 MILLION times!!

I chose the name ‘Hot For Words’ for the channel as a kind of homage to the Van Halen song “Hot For Teacher”. I always found that I paid more attention in classes where the teacher was hot .. so why not bring that to YouTube?

JTV: What camera do you use to shoot the show, what software do you cut with plus tell me about the green screen set up?

Marina: I currently shoot with a Sony HVR-V1U Camera that shoots in HD on DV tapes. I shot the first couple hundred of my videos on my MacBook camera, but when YouTube started offering HD, I switched to the Sony. I prefer the cameras that shoot on DV tape over the hard disk units as the DV tapes make for great backups in case you ever have a hard drive fail.

As you can see in this shot I put the external mic right in front of me to get the best sound.  I have a one of those folding Blue/Green screens behind me and I use DayFlo fluorescent lights that are matched to Day Light so that I don’t have to cover my windows. The fluorescents are great because they don’t consume much electricity and they don’t get hot! I have a total of 5 lights .. two in front and 3 lighting the green screen.

I edit my videos in Final Cut Studio, which is great because it comes with all kinds of templates that can get you up and running very quickly and that make your videos look great even if you are just starting out.

JTV: Do you need to follow a strict schedule, for example do you have writing and researching days and shooting days and editing days or does it just happen when you feel like it?

Marina: I try to shoot most of my videos on Monday and then spend the rest of the week editing them. I also do my research during the week as well. I prefer to stick to a schedule as it forces me to make the videos on time. I have one of the most prolific channels on YouTube putting out more videos than most.. and my strict schedule is what allows me to accomplish that.

JTV: The show looks quite different now than even a year ago, you’ve added more effects and graphics, why did you decide to go for a more polished look and is it important keep the show moving forward?

Marina: I just changed as I got better at editing on Final Cut Pro. When you sit at a computer for 5 hours at a time editing videos, 7 days a week, you are bound to get better at what you are doing! The style of my videos simply changed with my abilities as an editor!  People also seem to appreciate it when they see you getting better and better at something.  You definitely DO NOT need to start out all polished as people on YouTube like stuff that looks home-made anyway. If you start out looking too sophisticated, people might ignore you thinking you are some big Hollywood production. This fact is actually great as it means you can start out really cheaply.. editing the videos yourself .. even if you are horrible at it!

JTV: What’s the most rewarding thing about making your own show and distributing it on the Web?

Marina: The most rewarding thing about making your own show on the net is that it is 100% YOUR OWN SHOW! You’re not at the mercy of a TV Network .. you are your own boss! What’s also nice about having your show on the net is that you get INSTANT feedback from your audience. You’ll get a lot of idiotic comments from kids, but you’ll also get a lot of helpful feedback that will help you make your show better and better! You can’t get that kind of instant feedback from other mediums!

JTV: Do you have any tips for people who want to start their own Web video show?

Marina: Make videos on a topic that you find interesting. Since you will need to make lots and lots of videos to attract your audience, it had better be something you find interesting, otherwise you will burn out before you gain traction.

Also.. get into a schedule of making videos on a regular basis … you want to build your subscriber base and there is no reason for people to subscribe to you if you are not making any videos!

Picking a topic you love will allow you to always be thinking about the next video and having that schedule down will force you to make each video in a timely manner.

I’ve posted below one of the early shows so you can see the quality difference we talked about plus I found a really great behind the scenes film made by Snob Magazine (Russia) that is worth a look too.

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Got the bug? Pre Order Marina’s new book US Hot for Words UK Hot for Words

A Jeremy Clarkson (Top Gear) beatbox mash up has gained a lot of traction on YouTube and has been picked up across the Web. Jules.tv caught up with Videomaker Swede Mason who reveals how the hit was created:

JTV: Do you make these films for a reason, is there some meaning attached to them?

Swede Mason:  I’m not sure where the motivation comes from. I’m the most unmotivated person when it comes to most other things in life. I just have fun making these and I get a buzz out of it.

I think concepts and ideas are more important than high end production. A lot of the equipment and software that was unattainable a few years back is now at the disposal of the average cash strapped musician like myself.

JTV:  How do you source all the footage and how long did it take to get the Clarkson video made?

Swede Mason: I record everything I watch on TV onto VHS. I wish I had sky+ (UK equivalent to Tivo) but I am skint. I just hear stuff that I think would be good to remix and keep ‘em on my computer. I’ve got shitloads of crap. With the Clarkson vid I recorded the powerslide bit about 2 years ago. Then I recorded the “eeeerr” noise and the bass drum sound about a year later and then decided to collect a load more sounds whilst I was laid up with a broken collar bone. The actual tune and Vid didn’t take too long after I had collected the footage - about 20 hours in total.

JTV: I guess getting the sound right is the tricky part, what kit do you use?

Swede Mason: I use hardware samplers and synths and a sequencing program called Logic for Mac. Logic has software synths that are quite useful for specific sounds, but hardware is good ‘cos you can kind of sketch ideas for the tune manually before sequencing it in Logic. Not many people use it anymore so you can pick stuff up pretty cheap. I recommend the Zoom ST-224 sampler. I’ve hammered mine for 10 years and it’s only just starting to pack up. I record the tune, then export into imovie and edit the video from the original samples over the top, syncing it up to the audio. The hardest thing is getting hold of the good samples.

JTV: What’s next for Swede Mason?

Swede Mason: I have got another load of clips I collected about a year ago of Richard Madeley (Brit TV presenter) but never used ‘em - similar thing, beatbox. I might try to do something with them. No way near as good as the Clarkson sounds though. There are other random things I wanna do too. Having a bit of a break at the mo and just trying to get my head around all this exposure. It’s been mental.

Long term I just want to carry on making this stuff and see what happens. A bit of editing work would be nice to pay the bills + I’d like to play live but need some better gear. That’s about it.

JTV: And how about the future for Video mash ups?

Swede Mason: I’m expecting to see a lot more of this kind of music/video, now that practically anyone can have a shot at it and get there vids online, potentially reaching a massive audience. It’s just the copyright laws which need amending in my opinion, then I wouldn’t have to work in a pub to pay the rent. Could rant for ages about stuff but gotta get to work. Cheers for the interest and support.

Interesting interview by TechVi with the creators of Epic Fu, Zadi Diaz and Steve Woolf. They talk about the mistakes they made producing their first Web series ‘The Jet Set Show’ and how they turned it around with Epic Fu. Love Steve’s quote: ”The Internet is the only place left where you can fail”.

Former ITN Cameraman Peter Wilkinson (63) swapped warzones for corgis nearly 10 years ago. He’s the Queen’s official Operator though his salary is paid jointly by the BBC, ITN and Sky who access his footage.

I guess he gets to see a lot of interesting people and travel in style, but there must be a lot of waiting around and endless hand shakes and line ups to film. I wonder if Her Majesty has an official Editor and sits at the back of the room asking to trim out shots for no apparent reason.

This post is not just an excuse to put up a picture of a shiny new Mini Clubman. It could be useful if you are making TV or Web video content and need to hook up with Brands looking to feature stuff in your shows. (After looking up the rules if you’re in TV)

A past example of this would be six advertising partners - including Procter & Gamble -  reportedly paid up to £250,000 each to have their products integrated into the storyline of Bebo’s Kate Modern. It could also include pure sponsorship or the loan of some props, like the car above. BranDirector is a company you should check out as they can help connect you with the goodies as BD’s Oliver White explained to me:

JTV: Please outline what Brandirector does?

We introduce brands and agencies to content opportunities in music, TV, Film, VOD and other media and vice versa.

JTV: When it comes to Web Video some commentators say it’s struggling to meet costs and prove itself as a business model, on the other hand there is a lot of momentum as people turn to get entertainment on the Web, how do you see the market right now?

Marketing and agency people are risk averse at the moment. No one ever got fired for suggesting the client puts an ad on ITV. That will change very soon.

JTV: What is the main problem encountered when content Producers and brands try to get into bed?

Producers have to understand that brands aren’t there to fund his or her project for the fun of it, they want an ROI (Return On Investment). Brands have to understand that the producer isn’t making a commercial for their product.

JTV: Do you need to be a big, massively viewed, content Producer for Brands to be interested in you?

Big audience is always a help, but a small niche audience can be just as valuable. The Shotgun and the Sniper. Both get results.

JTV: How do you see the future of branded content and integration going over the next couple of years?

The rest of the world - it’s the way forward. In the UK we have a government that thinks the audience is stupid and needs to be protected from advertisers. They don’t understand that it’s the brands that pay for content one way or another. They are stuck in another age, interruption advertising. When we get an enlightened government branded content will get big, fast.

Useful link: BranDirector

Getting a job in TV isn’t easy at anytime but with the big changes going on in Broadcasting coupled with the flaky economy - it’s going to get a lot harder. 

Cue a timely book by Elsa Sharp “How to get a job in Television” due for release in the Spring. (Published by A & C Black in conjunction with the Guardian).

Elsa has an impressive CV having worked as a Series Editor, Development Executive, Head of Talent and more recently as a freelance Talent headhunter with clients including Impossible Pictures, Objective Productions, BBC Northern Ireland and North One. 

Jules.tv wanted to find out more about the TV book of the year (I’m not working right now!)  and hired Elsa for a Q. and A.

JTV: Why did you decide to write the book?

Elsa: I was inspired to write the book when I was head of talent at Zig Zag Production. The main part of my role was to recruit people to the company - crew up productions and find key senior creative talent like series producers, producer/directors and executive producers. Though a lot of my job involved nurturing, helping and advising new entrants trainees, runners, researchers. Towards my end of my stint there I was constantly being approached for advice, help and guidance on CV writing, how to write a covering letter, who to write to and how so and thought there was a need for a book.  I wanted to share the experience I had learned the hard way!

I went on maternity leave and as I had some time before the birth I wrote a proposal document for the book and sent it to A& C Black who were interested enough to publish it!

JTV: What are the main topics you cover ?

The book is primarily aimed at new entrants – graduates, undergraduates, runners and researchers. It gives practical advice and tips as well as including profiles of leading industry figures on how they started – from presenter/producer Anna Richardson to Tim Hincks, the chairman of Endemol.

Based on interviews with successful people working in the industry it covers topics such as how to get a foothold in the TV industry and progress – from writing covering letters and targeting companies. Getting Started – Work experience, the seven stages of a CV, the golden rules of interviews including the Do’s and Don’ts, it explains what skills are required to be a runner and researcher and advice on career progression discussing the different roles and what you do as an assistant producer, producer, producer/director and series producer.

JTV: What’s the biggest mistake people make when approaching companies?

Elsa: Not accurately targeting the company or knowing who you are writing to. There’s no point in sending a general email that is the same for everyone.  If you want to work in a certain field you should target the companies you want to work in. You should know what the programmes are, who’s making them and why you want to work in that area. When you write an email you should make sure you address it to the right person without being too familiar and know their work, needs and explain why you are the right candidate. And make sure there are no spelling mistakes or your letter could end up straight in the bin!

JTV: What does it take to start a career in TV and stay in the profession?

Elsa: An absolute love and passion for TV, guts, charm, resilience, tenacity, determination and a healthy dose of luck!

JTV: I am sure some Jules.tv readers can’t wait for the book to hit the shelves so can you give us a quick tip now how to get a job in TV?

Never take no for an answer, be prepared to work hard and have a thick skin!

UPDATE: THE BOOK IS NOW PUBLISHED YOU CAN BUY IT BELOW

I spotted UPIA, a London based music outfit via a Facebook group. If you are in the TV or Video biz I recommend you do a search of groups on FB as there is loads of industry networking going on there.

UPIA have got a great track record, and a cool website, Jacqueline McBeth from the Business Development team, was good enough to do a quick Q and A for Jules.tv:

JTV: Outline who you are and what you do?

UPIA: UPIA Music is a London based production team specialising in composing original score for TV and film. We’ve worked with the BBC, SKY, MTV, C4, UKTV, Nat Geo, Discovery, Objective, Outline and IWC on a broad range of programme genres; drama, wildlife, documentary, animation and sports. We use a combination of live musicians, electronic and sound design techniques to create a unique contemporary sound with an edge.

JTV: What trends are you spotting in current commissions for music for Video and TV?

UPIA: In the current climate, budgets are shrinking and Producers are being very cautious before they spend any cash. People are tending to use more library tracks. It’s up to the composers to remind their clients the benefits of bespoke music, tailor made for their film, hoping that the clients care about the quality of the end product not just the budget.

JTV:  It’s sometimes hard for non-musicians to describe what they want to composers, what advice would you give to clients who need to brief you?

UPIA: We try to get the clients to come up with an emotional cue sheet – i.e. what emotion would they like to convey in each scene, what vibe they are trying to create. Style references and temp music can be helpful and the client can say “I want something like this”.

Temp music can however be a double edged sword. If the client used Beethoven’s 9^th or a Beatles track, that might be tough to match.

JTV:  What makes a great track for TV or Video. Is there a formula?

UPIA: As with any piece of music it has to be good! Push yourself to the limit every time and strive for originality and freshness. No matter what the brief is, at the end of the day, Producers and Directors select tracks that excite them. When it’s good, it’s good and it’s easily recognisable as good. If it’s a theme (for instance – opening titles for a show) make sure it’s a memorable tune. A producer once said to me “ I want a tune that lets you know that your favourite show is starting even if the telly is in the lounge and you’re in the kitchen making the tea”.

If it’s an underscore score track that needs to be played under dialogue, make sure that there is nothing in the arrangement that would fight with dialogue – i.e. no screaming guitars, no over present brass, synths, or anything that has a heavy mid range content. If your track fights with the dialogue it will be pulled down to oblivion when the show is mixed. In terms of the mix, make sure your music sounds great on tiny TV speakers as well as on your big studio speakers as home viewing conditions may vary greatly.

JTV:  What advice would you give to wanabee composers trying to get into your market?

UPIA: Get as much experience as possible. Write as much music as possible. Give yourself mock briefs and write to them. Download video in the genre you wish to work on and practice writing to picture. Network as much as possible. Work on your people skills. Attend film festivals, seminars and any event where you think you might meet filmmakers. Students are the future. Establish good relationships with film students. They are the filmmakers of tomorrow. Never despair! It’s tough game and in order to succeed you need to be not only talented but also very very persistent!

Jules.tv recently caught up with Ollie, owner and Chief Chimpanzeee at London hire firm Kitroom Monkey. Any company with a name like that deserves a visit.

What I like about KRM is they are happy to talk to and loan kit to young filmmakers, freelancers between contracts and for small projects.

Ollie started off as a mini-cam operator (he’s great for advice if you need to hire mini-cams for your next learner driver series). He later bought a couple of PD150 kits to hire out, growing and adding kit steadily from there to build his empire now based at London’s famous Ealing studios.

In this 5 mins interview we cover the Sony HVR-Z1u, HRV-Z7e, PMW-EX1 and the Red One camera. What’s clear is that going tapeless hasn’t yet got a hold, especially in broadcast TV production. There’s also a new wave of hirers making low budget Web Video - so golden oldies like the PD150/170 are still very much in demand. (This video was shot on my PD150 - I won’t be putting it in the recycling just yet).

Right now Kitroom Monkey are doing all kit at a massive 50 percent off until the end of January when the shooting season picks up. You can see the ratecard and more info at: www.kitroommonkey.co.uk

In this Video interview, TV Producer Richard Hall describes the main Production Team roles on a Reality TV Show. The American system is a little different to the UK - the team is bigger and more money is spent on specialised roles, which explains why it’s often so high in production values!

Also the terminology is quite different, in the UK a Runner would be doing quite a lot of menial work from driving staff around to buying Cafe Lattes for the crew - in the US a ‘Show Runner’ is a high level member of the team equivalent to an Executive Producer.

About Richard Hall
Job: Reality TV Producer
Qualifications: The Amazing Race, Nanny 911, Celebrity Fit Club
Summary: Richard Hall has been working in reality television since its emergence as a dominant television genre. He has produced over 50 national prime time shows for networks including CBS, Fox, A&E, TLC and Discovery. He served as a producer for the Amazing Race for four seasons, winning an Emmy (his third) for Season Six. He was also the Supervising Producer for Nanny 911 and Executive Producer of VH1’s Celebrity Fit Club. Hall is also a documentary filmmaker.

It’s quite rare to pin down a TV Producer for a proper chat, they are usually so busy firefighting their latest series. That’s why if you want to know the mechanics of making a Reality show this interview is worth watching. Top US TV Producer, Richard Hall of Great Blue Productions doesn’t mince his words.

If this doesn’t put you off working in TV then you’re made of the right stuff to make it in one of the toughest media industries.