Video for Change · ideo. Pre-production includes researching the issue at hand, fleshing out the themes to be explored, preparing outlines for what you want to cover in your video,

WITNESS (www.witness.org) uses the power of video to open the eyes of the world to human rights abuses. By partnering with local organizations around the globe, WITNESS

empowers human rights defenders to use video as a tool to shine a light on those most affected by human rights violations, and to transform personal stories of abuse into

powerful tools of justice. Since its founding in 1992, WITNESS has partnered with groups in more than 60 countries, bringing often unseen images, untold stories and seldom heard

voices to the attention of key decision makers, the media, and the general public -- prompting grassroots activism, political engagement, and lasting change.

------------------------------------------------------------------------------------------------------------

Video for Change A Guide for Advocacy and Activism

Edited by Sam Gregory, Gillian Caldwell, Ronit Avni and Thomas Harding

Appendices including Video Action Plan, Footage Description Forms, Sample

Consents and Releases, Pre-production and Production Checklists, Script Formats and Costing-out Distribution Strategies

Pluto Press LONDON • ANN ARBOR, MI in association with WITNESS

• Visit www.witness.org/store for more information on this book, or to purchase a

bound copy • Please contact us at [email protected] to let us know how you are

using this material • Use the WITNESS forum at www.witness.org/forum to tell others about your own

experiences using video for change. First published 2005 by Pluto Press: 345 Archway Road, London N6 5AA and 839 Greene Street, Ann Arbor, MI 48106 www.plutobooks.com Copyright © WITNESS, 2005 The right of the individual contributors to be identified as the authors of this work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 0 7453 2413 4 hardback ISBN 0 7453 2412 6 paperback Library of Congress Cataloging in Publication Data applied for

http://www.witness.org/

http://www.witness.org/store

mailto:[email protected]

http://www.witness.org/forum

http://www.plutobooks.com/

284

Org

aniz

atio

n N

ame:

Y

our

Nam

e:

You

r Po

siti

on:

Dat

e:

Th

is i

s a

vers

ion

of

the

WIT

NES

S V

ideo

Act

ion

Pla

n (

VA

P) –

a q

ues

tion

nai

re d

esig

ned

to

assi

st o

ur

par

tner

s in

dev

elop

ing

a p

lan

to

inte

grat

e vi

deo

in

to t

hei

r h

um

an r

igh

ts a

dvo

cacy

wor

k. T

his

VA

P sh

ould

gu

ide

you

th

rou

gh t

he

pro

cess

of

thin

kin

g ab

out

the

advo

cacy

tac

tics

, log

isti

cal

pre

par

atio

ns,

ski

lls,

an

d t

he

visu

al l

iter

acy

req

uir

ed t

o su

cces

sfu

lly

crea

te a

vid

eo a

dvo

cacy

pro

ject

. It

shou

ld b

e u

sed

as

a st

arti

ng

poi

nt

for

thin

kin

g th

rou

gh a

pro

ject

, as

wel

l as

set

tin

g re

alis

tic

exp

ecta

tion

s an

d t

imel

ines

to

succ

essf

ull

y m

eet

you

r go

als.

For

guid

ance

in

fil

lin

g ou

t th

is d

ocu

men

t, p

leas

e re

fer

to t

he

foll

owin

g d

ocu

men

ts:

•W

ITN

ESS

trai

nin

g m

ater

ials

at

ww

w.w

itn

ess.

org/

trai

nin

g.

Fin

ally

, ple

ase

not

e th

at t

he

tabl

es a

nd

ch

arts

th

rou

ghou

t th

is d

ocu

men

t ar

e m

ean

t as

a g

uid

e. Y

ou n

eed

not

use

th

em i

f yo

u’d

pre

fer

to w

rite

/pri

nt

on a

sep

arat

e sh

eet

of p

aper

.

App

endi

x I

WIT

NES

S V

ideo

Act

ion

Plan

Gregory 04 apps 284Gregory 04 apps 284 22/7/05 11:15:0022/7/05 11:15:00

285

PPAR

T1

:Ove

rall

Vid

eoA

dvoc

acy

Fram

ewor

k

Ou

tlin

eo

fO

bje

ctiv

esan

dA

ud

ien

ce

Rem

embe

r, t

he

mos

t su

cces

sfu

l vi

deo

ad

voca

cy i

s ge

ner

ally

im

ple

men

ted

to

sup

por

t a

spec

ific

cam

pai

gn w

her

e vi

deo

is

stra

tegi

call

yan

d t

acti

call

y u

sed

in

tan

dem

wit

h o

ther

ad

voca

cy a

ctiv

itie

s an

d t

ools

su

ch a

s w

ritt

en r

epor

ts, b

rief

ings

, eve

nts

etc

., an

d i

n s

up

por

tof

a s

pec

ific

, def

ined

ad

voca

cy o

bjec

tive

.

1)A

cros

s yo

ur

orga

niz

atio

n, w

hat

are

you

r ke

y ad

voca

cy o

bjec

tive

s an

d t

he

tact

ics

you

wil

l u

se t

o p

urs

ue

them

ove

r th

e n

ext

two

year

s? A

re t

her

e sp

ecif

ic k

ey a

dvo

cacy

eve

nts

of

rele

van

ce t

o yo

ur

obje

ctiv

es?

If s

o, p

leas

e li

st t

hem

, an

d n

ote

wh

y th

eyar

e im

por

tan

t.

OOB

JEC

TIV

EAA

DV

OC

AC

YT

AC

TIC

KKEY

EVEN

TS

NNA

MES

AN

DD

UT

IES

OOF

PEO

PLE

INV

OLV

EDOO

TH

ERN

GO

sO

RSST

AK

EH

OL

DE

RS

IINV

OLV

EDIN

TH

ISPP

RO

JEC

T

1. 2. 3.


286

4. 5. 6.

2)Pl

ease

exp

and

on

wh

at a

re t

he

spec

ific

obj

ecti

ves

for

chan

ge i

n p

olic

y an

d p

ract

ice

that

you

r vi

deo

wil

l ad

voca

te f

or. B

esp

ecif

ic o

n h

ow y

ou w

ould

kn

ow i

f yo

u h

ad b

een

su

cces

sfu

l in

ach

ievi

ng

thes

e ob

ject

ives

. Not

e th

at y

ou c

an h

ave

both

pri

mar

y an

d s

econ

dar

y ob

ject

ives

. Ad

d a

dd

itio

nal

row

s to

th

e ta

ble

as n

eed

ed.

SSPEC

IFIC

POLI

CY

OR

CH

AN

GE

OB

JEC

TIV

EMM

EASU

RE

OF

SUC

CES

S?1. 2. 3. 4.


287

3)Fo

r yo

ur

vid

eo p

roje

ct, w

ho

are

you

r au

die

nce

s? A

ud

ien

ces

shou

ld h

ave

the

abil

ity

to i

nfl

uen

ce y

our

advo

cacy

obj

ecti

ves,

eith

er d

irec

tly

or i

nd

irec

tly.

Ple

ase

list

in

th

e ta

ble

spec

ific

org

aniz

atio

ns

and

/or

ind

ivid

ual

s yo

u w

ould

tar

get

for

dis

trib

uti

on.

Use

th

e gu

ide

of p

ossi

ble

typ

es o

f au

die

nce

s be

low

, bu

t fe

el f

ree

to a

dd

an

y au

die

nce

s th

at y

ou f

eel

are

rele

van

t to

you

r is

sue.

TTY

PEO

FA

UD

IEN

CE

LLO

CA

LNN

AT

ION

AL

RRE

GIO

NA

LIIN

TE

RN

AT

ION

AL

Cou

rts,

tri

bun

als

and

oth

erju

dic

ial

bod

ies

Legi

slat

ive

and

Exe

cuti

vebo

die

sH

um

an r

igh

ts b

odie

s,C

omm

issi

ons,

Sp

ecia

lra

pp

orte

urs

, Wor

kin

g gr

oup

s,et

c.K

ey d

ecis

ion

-mak

ers

wit

hin

flu

ence

on

hu

man

rig

hts

issu

es (

fin

anci

al i

nst

itu

tion

s,co

rpor

atio

ns,

aid

age

nci

es,

etc.

)N

GO

s, s

olid

arit

y gr

oup

s an

dco

mm

un

ity-

base

dor

gan

izat

ion

sPr

ess

and

med

ia (

incl

ud

ing

tele

visi

on, i

nte

rnet

an

d r

adio

)G

ener

al p

ubl

icO

ther

?


288

4)Pl

ease

an

alyz

e yo

ur

aud

ien

ces,

ran

ked

in

ord

er o

f si

gnif

ican

ce, i

n t

he

tabl

e be

low

. Use

th

e ex

amp

le p

rovi

ded

in

th

e ta

ble

as a

guid

e.

AAU

DIE

NC

EAA

CT

ION

SSOU

GH

TAA

WA

RE

NE

SSPP

ER

SPE

CT

IVE

MME

SSA

GE

SSTO

RY

/VO

ICE

SDD

IST

RIB

UT

ION

Wh

at i

s th

esp

ecif

icau

die

nce

(in

div

idu

al,

grou

p)

that

you

wan

t to

reac

h?

Wh

at d

o yo

uw

ant

this

aud

ien

ce t

o d

o?(p

leas

e re

late

to

obje

ctiv

es f

orch

ange

in

qu

esti

on 2

)

Au

die

nce

’scu

rren

t le

vel

ofaw

aren

ess

ofis

sue

Au

die

nce

per

spec

tive

on

issu

e (n

egat

ive,

neu

tral

, pos

itiv

eet

c.)

Wh

at y

ouar

e tr

yin

gto

con

vey

to t

his

aud

ien

ce s

oth

at t

hey

wil

l ta

keac

tion

?

Wh

at s

tory

an

d w

hat

peo

ple

in

a v

ideo

wil

lp

ersu

ade

or m

ove

you

r au

die

nce

to

acti

on?

How

an

d w

hen

wou

ld y

ou r

each

this

au

die

nce

? Is

ther

e a

stra

tegi

cm

omen

t to

rea

chth

is a

ud

ien

ce?

(e.g

. via

pu

blic

/pri

vate

scre

enin

gs, l

egal

hea

rin

gs,

con

fere

nce

s, d

irec

tco

nta

ct, t

he

mas

sm

edia

). B

e as

spec

ific

as

pos

sibl

ew

ith

dat

es a

nd

opp

ortu

nit

ies.

Sene

gale

sePr

esid

ent

Fina

ncia

l and

polic

yco

mm

itm

ent

tosu

ppor

t la

ndm

ine

vict

ims

Hig

h, w

e ha

vebe

en d

oing

a lo

tof

adv

ocac

yw

ork

dire

cted

at

the

Sene

gale

sego

vern

men

t on

beha

lf o

fla

ndm

ine

vict

ims

Neu

tral

but

no

polic

y/le

gisl

atio

nor

act

ion

has

been

mad

e to

ass

ist

thes

e vi

ctim

s

You

hav

eth

e ab

ility

to

prov

ide

supp

ort

tola

ndm

ine

vict

ims

byad

equa

tely

fund

ing

supp

ort

serv

ices

.

The

hum

an im

pact

of

land

min

es, t

he u

rgen

cyof

the

nee

d to

ass

ist

vict

ims

and

the

illeg

alit

y of

non

-as

sist

ance

. Voi

ces

ofvi

ctim

s, a

s w

ell a

sin

form

ed n

eutr

alex

pert

s re

com

men

ding

acti

on.

Via

a p

riva

tesc

reen

ing

onD

ecem

ber

12, 2

004

orga

nize

d w

ith

othe

r N

GO

s in

our

anti

-lan

dmin

esco

alit

ion.


289

5)W

hat

len

gth

, sty

list

ic a

pp

roac

h a

nd

lan

guag

e d

o yo

u t

hin

k w

ill

be o

pti

mal

for

you

r p

rim

ary

aud

ien

ce?

If y

ou a

re c

hoo

sin

gto

tar

get

mu

ltip

le a

ud

ien

ces,

wil

l th

ese

req

uir

e a

dif

fere

nt

lan

guag

e, l

engt

h o

r st

yle

of v

ideo

? I

f so

, ple

ase

give

det

ails

.

6)W

hat

oth

er o

rgan

izat

ion

s, n

etw

orks

an

d a

llia

nce

s h

ave

you

wor

ked

wit

h, o

r d

o yo

u p

lan

to

wor

k w

ith

in

th

is v

ideo

advo

cacy

cam

pai

gn?

Ple

ase

des

crib

e h

ow y

ou h

ave

wor

ked

wit

h t

hem

in

th

e p

ast

or e

nvi

sion

wor

kin

g w

ith

th

em.

7)A

re t

her

e an

y se

curi

ty r

isks

ass

ocia

ted

wit

h f

ilm

ing

and

th

en w

ides

pre

ad d

isse

min

atio

n o

f th

e vi

deo

foo

tage

ou

tsid

e or

wit

hin

th

e co

un

try,

eit

her

for

th

e p

erso

n w

ho

has

fil

med

th

e fo

otag

e or

th

e p

eop

le f

eatu

red

in

th

e vi

deo

? If

so,

ple

ase

elab

orat

e.

8)Pl

ease

lis

t an

y ex

isti

ng

or i

n-p

rogr

ess

vid

eos

or d

ocu

men

tari

es r

elat

ed t

o yo

ur

advo

cacy

foc

us.

How

wil

l th

e vi

deo

pro

ject

that

you

r or

gan

izat

ion

pro

pos

es a

dd

to

this

vid

eo m

ater

ial?

Wh

at c

an y

ou l

earn

fro

m e

xist

ing

vid

eos

abou

t w

hat

you

wan

tto

in

clu

de

and

wh

at y

ou w

ant

to a

void

? Pl

ease

be

spec

ific

in

nam

ing

any

vid

eos

that

exi

st, o

r in

dic

ate

if t

her

e is

no

curr

ent

rela

ted

vid

eo m

ater

ial.

9)H

ow h

as t

he

med

ia p

ortr

ayed

th

e is

sue

(if

at a

ll)?

Has

th

at h

elp

ed o

r h

ind

ered

you

r ad

voca

cy s

trat

egy?

How

wou

ld y

ou w

ant

the

app

roac

h o

f yo

ur

vid

eo t

o be

dif

fere

nt?


290

PPAR

T2

:Pla

nn

ing

the

Vid

eo

Stra

tegy

:M

essa

ge,

Sto

ryan

dSt

ory

tell

er

1)W

rite

a p

arag

rap

h t

hat

des

crib

es t

he

stor

y th

at v

iew

ers

wil

l se

e in

you

r vi

deo

. Th

is s

hou

ld n

ot b

e a

sum

mar

y of

th

e vi

deo

’sm

essa

ge o

r an

an

alys

is, b

ut

a d

escr

ipti

on o

f h

ow y

ou v

isu

aliz

e th

e st

ory

un

fold

ing.

Tw

o ex

amp

les

wou

ld b

e:

–“I

n t

he

Cas

aman

ce r

egio

n o

f Se

neg

al w

e se

e a

fert

ile,

pro

sper

ous

city

an

d c

oun

trys

ide

con

tras

ted

to

the

pli

ght

of l

and

min

evi

ctim

s. W

e fo

llow

th

e li

ves

of f

our

lan

dm

ine

vict

ims

of d

iffe

rin

g ag

es, g

end

ers

and

soc

ial

clas

ses,

eac

h o

f w

hom

is

tryi

ng

toco

nti

nu

e li

vin

g an

d w

orki

ng.

Th

ey e

xpla

in t

he

lack

of

med

ical

ass

ista

nce

, an

d t

he

soci

o-ec

onom

ic a

nd

psy

chol

ogic

al e

ffec

ts o

fla

nd

min

es o

n t

hei

r li

ves.

Th

eir

per

son

al e

xper

ien

ces

are

rein

forc

ed t

hro

ugh

exp

ert

inte

rvie

ws,

cu

lmin

atin

g in

an

ap

pea

l,vo

iced

by

the

vict

ims,

to

the

gove

rnm

ent

and

th

e in

tern

atio

nal

com

mu

nit

y to

mee

t th

eir

obli

gati

ons

to p

rovi

de

assi

stan

ce t

ovi

ctim

s of

lan

dm

ines

, cea

se t

he

use

of

lan

dm

ines

an

d t

o d

e-m

ine

the

regi

on, a

s is

sti

pu

late

d u

nd

er t

he

Min

e B

an T

reat

y to

wh

ich

Sen

egal

is

a si

gnat

ory.

”

–“F

irst

we

see

imag

es o

f th

e of

fen

sive

by

the

Bu

rmes

e m

ilit

ary

gove

rnm

ent

that

too

k p

lace

at

the

end

of

2004

, an

d t

hen

th

eco

nti

nu

ing

life

of

the

vill

ager

s in

th

e w

ar z

one

in 2

005,

in

wh

ich

th

ey a

re a

lway

s fa

ced

wit

h t

he

fear

s an

d p

ossi

ble

thre

ats.

Th

ey s

tay

in s

mal

l gr

oup

s n

ear

thei

r fi

eld

s, l

ivin

g in

tem

por

ary

hom

es, a

nd

avo

idin

g th

eir

vill

ages

in

th

e p

lain

s. T

hey

hav

eli

mit

ed f

ood

, acc

ess

to h

ealt

hca

re a

nd

ed

uca

tion

, an

d s

ecu

rity

. V

illa

gers

of

all

ages

as

wel

l as

ch

ild

ren

sh

ow u

s h

ow t

hey

liv

e,ta

lk a

bou

t th

eir

exp

erie

nce

s an

d p

erso

nal

sto

ries

, an

d t

alk

abou

t th

eir

hop

es a

nd

fea

rs, a

nd

hop

es a

nd

fea

rs f

or t

hei

r ch

ild

ren

.T

he

vid

eo s

how

s th

e co

nti

nu

ing

inse

curi

ty f

aced

by

peo

ple

, an

d t

hat

ad

dit

ion

al s

up

por

t is

nee

ded

for

in

tern

ally

dis

pla

ced

peo

ple

in

Bu

rma,

as

wel

l as

pre

ssu

re o

n t

he

gove

rnm

ent

to s

top

att

acks

on

th

ese

peo

ple

.”

Th

ink

visu

ally

an

d v

erba

lly

– ev

ery

wor

d s

hou

ld d

escr

ibe

som

eth

ing

you

see

in

th

e vi

deo

.

2)A

mon

g th

e m

essa

ges

you

id

enti

fied

in

you

r A

ud

ien

ce c

har

t, w

hat

wil

l be

th

e m

ost

imp

orta

nt

mes

sage

s of

th

e vi

deo

?

3)W

ho

can

tel

l yo

ur

stor

y m

ost

com

pel

lin

gly

for

you

r au

die

nce

? R

emem

ber

that

com

pel

lin

g an

d m

emor

able

in

div

idu

al,

per

son

al s

tori

es a

re p

art

of m

ost

pow

erfu

l vi

deo

s an

d s

tori

es, a

nd

th

at a

n “

exp

ert”

in

terv

iew

may

giv

e cr

edib

ilit

y an

d h

elp


291

elab

orat

e n

uan

ced

leg

al o

r p

olic

y ob

liga

tion

s. Y

ou m

ay c

onsi

der

how

you

wou

ld t

ell

“bot

h s

ides

of

the

stor

y” o

r ex

pla

inw

hy

this

is

infe

asib

le o

r il

l ad

vise

d.

Con

sid

er t

hat

‘wh

o’ t

ells

th

e st

ory

can

als

o in

clu

de

the

nar

rato

r.

4)If

you

pla

n t

o u

se a

nar

rato

r in

th

e fi

lm, w

ho

wou

ld b

e yo

ur

firs

t ch

oice

of

nar

rato

r an

d h

ow w

ill

you

get

acc

ess

to t

his

per

son

? N

arra

tors

can

pla

y a

very

use

ful

role

in

hel

pin

g to

str

uct

ure

th

e fi

lm, a

nd

fil

l in

th

e ga

ps

in i

nfo

rmat

ion

. How

ever

,fo

r so

me

aud

ien

ces,

nar

rati

on m

ay b

e p

erce

ived

to

be m

anip

ula

tive

or

ind

icat

ive

of a

par

ticu

lar

poi

nt

of v

iew

/op

inio

n.

Issu

es t

o co

nsi

der

in

th

e ch

oice

of

nar

rati

on i

ncl

ud

e cr

edib

ilit

y of

th

e n

arra

tor,

gen

der

, nat

ion

al o

rigi

n, c

eleb

rity

reco

gnit

ion

an

d t

hei

r av

aila

bili

ty/a

cces

sibi

lity

etc

. In

th

e ev

ent

that

th

is p

erso

n m

ay n

ot b

e av

aila

ble

to p

rovi

de

nar

rati

onfo

r th

e vi

deo

, ple

ase

also

dra

ft a

lis

t of

oth

er p

oten

tial

nar

rato

rs.

PPA

RT

3:

Th

eP

re-p

rodu

ctio

n,

Pro

duct

ion

and

Pos

t-pr

oduc

tion

proc

ess.

The

re a

re e

ssen

tial

ly t

hree

pha

ses

of f

ilm-m

akin

g: p

re-p

rodu

ctio

n, p

rodu

ctio

n an

d po

st-p

rodu

ctio

n. I

n th

is s

ecti

on, y

ou w

ill e

xplo

re t

hefu

ndam

enta

l cha

ract

er o

f ea

ch o

f th

ese

phas

es a

nd b

egin

to

thin

k ab

out

how

you

r vi

deo

advo

cacy

pla

n tr

ansl

ates

into

an

actu

al v

ideo

. Pr

e-pr

oduc

tion

incl

udes

res

earc

hing

the

issu

e at

han

d, f

lesh

ing

out

the

them

es t

o be

exp

lore

d, p

repa

ring

out

lines

for

wha

t yo

u w

ant

to c

over

in y

our

vide

o, m

akin

g lo

gist

ical

arr

ange

men

ts a

nd f

undr

aisi

ng.

Dur

ing

the

prod

ucti

on p

hase

, the

film

ing

will

tak

e pl

ace.

At

the

post

prod

ucti

on p

hase

the

foot

age

(vid

eo m

ater

ial s

hot)

will

be

logg

ed, t

rans

crib

ed a

nd e

dite

d in

to v

ideo

s ap

prop

riat

e fo

r th

e ta

rget

aud

ienc

e(s)

. [

Logs

are

wri

tten

deta

ils a

bout

the

foo

tage

on

each

tap

e an

d in

clud

e de

scri

ptio

ns o

n th

e lo

cati

on, l

engt

h, v

isua

l and

aud

io c

onte

nt o

f sh

ots.

Tra

nscr

ipts

are

deta

iled

note

s of

the

con

tent

of

each

tap

e.]

Pre-

Pro

du

ctio

nan

dPr

od

uct

ion

1)W

hat

qu

esti

ons

and

bac

kgro

un

d r

esea

rch

wil

l yo

u n

eed

to

add

ress

bef

ore

shoo

tin

g? C

omm

on k

ey q

ues

tion

s ar

e n

oted

belo

w, a

nd

you

sh

ould

in

clu

de

add

itio

nal

on

es t

hat

are

rel

evan

t to

you

r sp

ecif

ic o

rgan

izat

ion

an

d v

ideo

ad

voca

cy p

lan

.

QQU

EST

ION

SRR

EQU

IRED

RE

SEA

RC

H/N

OT

ES

1.W

hat

are

th

e se

curi

ty r

isks

for

peo

ple

ap

pea

rin

gin

th

e fi

lm i

f it

is

show

nlo

call

y/re

gion

ally

/in

tern

atio

nal

ly?

2.W

hat

kin

d o

f co

nse

nt

doc

um

ent

wil

l yo

ure

qu

ire

of p

eop

le f

ilm

ed?


292

3.W

hat

per

mis

sion

s w

ill

you

nee

d t

o fi

lm i

nd

iffe

ren

t lo

cati

ons

wh

ere

you

wou

ld l

ike

to f

ilm

?4.

Are

th

ere

any

rule

s of

su

bmis

sion

for

vid

eo a

tve

nu

es w

her

e yo

u p

lan

to

show

th

e vi

deo

for

you

rta

rget

au

die

nce

?5.

How

wil

l yo

u i

den

tify

ad

dit

ion

al f

un

din

g fo

rth

e vi

deo

pro

du

ctio

n a

nd

dis

trib

uti

on?

6.

2)W

hat

is

you

r or

gan

izat

ion

’s p

olic

y on

sec

uri

ty a

nd

on

con

sen

t as

it

rela

tes

to p

eop

le i

nte

rvie

wed

or

film

ed f

or y

our

hu

man

righ

ts d

ocu

men

tati

on?

3)W

hat

are

th

e au

dio

an

d v

isu

al c

omp

onen

ts t

hat

you

hop

e to

in

clu

de

in t

he

vid

eo?

Plea

se u

se t

he

list

in

th

e A

pp

end

ix t

o th

isV

ideo

Act

ion

Pla

n a

s a

guid

e.

a)Ex

isti

ng

Mat

eria

lsN

OT

E: A

rch

ive

vid

eo a

nd

ph

oto

mat

eria

l, a

s w

ell

as m

usi

c, c

an b

e d

iffi

cult

an

d e

xpen

sive

to

lice

nse

.

WWH

AT

IST

HE

MA

TER

IAL?

HHO

WW

ILL

YO

UO

BT

AIN

AC

CES

ST

OIT

?WW

HA

TR

IGH

TS

NEE

DT

OB

EO

BT

AIN

EDIN

OOR

DER

TO

USE

TH

ISM

AT

ERIA

L?Ex

isti

ng

vid

eoin

terv

iew

sEx

isti

ng

foot

age

shot

by y

our

orga

niz

atio

nEx

isti

ng

tele

visi

on o

rvi

deo

foo

tage

Exis

tin

gp

hot

osEx

isti

ng

mu

sic


293

Exis

tin

gso

un

d s

ourc

es(n

ot m

usi

c or

inte

rvie

ws)

Prin

ted

mat

eria

lsre

late

d t

o th

evi

deo

b) I

nte

rvie

ws:

Lis

t th

e in

terv

iew

ees

you

wan

t to

vid

eo.

If y

ou d

o n

ot h

ave

a sp

ecif

ic p

erso

n i

n m

ind

, giv

e a

gen

eral

des

crip

tion

of t

he

typ

e of

in

terv

iew

ee y

ou a

re l

ooki

ng

for.

Use

th

e ex

amp

le b

elow

as

a gu

ide.

NNA

ME

AN

DFFU

NC

TIO

NO

FIIN

TE

RV

IEW

EE

OOB

JEC

TIV

EO

FIN

TE

RV

IEW

LLOC

AT

ION

((AN

DA

NY

PPE

RM

ISSI

ON

RRE

QU

IRE

D)

LLA

NG

UA

GE

PPO

SSIB

LE

SSEC

UR

ITY

CCO

NC

ERN

SW

ITH

TTH

ISIIN

TE

RV

IEW

EE

Exam

ple:

Jam

esB

row

n, e

x-ch

ildso

ldie

r

Chi

ld s

oldi

er t

alki

ng a

bout

how

he

was

rec

ruit

ed, h

is li

fe a

s a

sold

ier,

whe

n an

d ho

w h

e w

as d

emob

ilize

d, h

ow h

e fe

els

abou

tth

e w

ar, w

hat

his

civi

lian

life

is li

ke a

nd w

hat

his

hope

s an

dfe

ars

are

for

the

futu

re.

Tra

nsit

iona

lre

inte

grat

ion

cent

er,

Mon

rovi

a,Li

beri

a. N

eed

to r

eque

stac

cess

fro

mce

nter

dir

ecto

r

Gba

nde/

Engl

ish

Can

not

show

face

, or

use

real

nam

e


294

c) S

equ

ence

s: P

rep

are

an o

utl

ine

list

of

the

seq

uen

ces

you

wis

h t

o sh

oot

to t

ell

you

r st

ory.

A s

equ

ence

is

a se

ries

of

shot

s th

at f

itto

geth

er t

o en

cap

sula

te a

par

ticu

lar

idea

or

acti

on. I

ncl

ud

e th

e lo

cati

ons

nee

ded

to

acq

uir

e th

is m

ater

ial

and

th

e re

ason

to

incl

ud

eth

em.

SSEQ

UEN

CE

(DES

CR

IBE

WH

AT

WE

SEE

AN

DHH

EA

R)

LLOC

AT

ION

(AN

DA

NY

PPR

EP

AR

AT

ION

/PE

RM

ISSI

ON

RRE

QU

IRE

D)

PPU

RP

OSE

:W

HY

ISIT

TO

BE

INC

LUD

ED?

Exam

ple:

Gro

up o

f ex

- ch

ild s

oldi

ers

play

ing

foot

ball.

Tra

nsit

iona

l rei

nteg

rati

on c

ente

r,M

onro

via,

Lib

eria

. N

eed

perm

issi

on f

rom

cen

ter

dire

ctor

.

Show

the

chi

ld s

oldi

ers

as c

hild

ren.


295

4)C

hoo

se a

n i

nte

rvie

wee

fro

m t

he

list

abo

ve a

nd

dra

ft a

lis

t of

qu

esti

ons

you

wis

h t

o as

k. P

leas

e n

ote

that

in

terv

iew

qu

esti

ons

mu

st b

e op

en-e

nd

ed t

o al

low

for

you

r in

terv

iew

ee t

o el

abor

ate

the

full

est

resp

onse

. For

mor

e gu

idan

ce y

ou s

hou

ld r

evie

wW

ITN

ESS

trai

nin

g m

ater

ials

. T

his

is

an e

xerc

ise

that

you

sh

ould

com

ple

te a

s p

rep

arat

ion

for

eac

h i

nte

rvie

w y

ou c

ond

uct

.

NNA

ME:

LLOC

AT

ION

:Q

ues

tion

s1 2 3 4 5 6 7 8 10 Pl

ana

pro

du

ctio

nti

mel

ine

Out

line

a ti

mel

ine

for

the

pre-

prod

ucti

on, p

rodu

ctio

n, p

ost-

prod

ucti

on a

nd d

istr

ibut

ion

of y

our

firs

t vi

deo

proj

ect.

Sam

ple

acti

viti

es a

re li

sted

belo

w. H

owev

er, t

he t

ime

requ

ired

for

the

se w

ill d

epen

d on

the

nat

ure,

sco

pe a

nd s

trat

egy

of t

he p

arti

cula

r pr

ojec

t, a

s w

ell a

s on

the

tim

e an

den

ergy

you

are

abl

e to

com

mit

to

the

proj

ect.

SSTA

GE

INT

HE

PPR

OC

ESS

AAC

TIV

ITY

DDA

TE

TO

BEG

INDD

AT

ET

OFFI

NIS

HLLO

CA

TIO

NPP

ER

SON

RRE

SPO

NSI

BL

E/A

DD

ITIO

NA

LIIN

PU

TR

EQ

UIR

ED

PPre

-pro

du

ctio

nR

esea

rch

on

sec

uri

ty c

onst

rain

tsR

esea

rch

on

exi

stin

gau

dio

visu

al m

ater

ials

an

d o

ther

back

grou

nd

res

earc

h


296

Dev

elop

men

t of

vid

eo a

ctio

np

lan

Logi

stic

al p

rep

arat

ion

for

film

ing

Fun

dra

isin

g fo

r th

e p

rod

uct

ion

and

dis

trib

uti

on/a

dvo

cacy

PPro

du

ctio

nFi

lmin

g –

Loca

tion

AFi

lmin

g –

Loca

tion

BFi

lmin

g –

Loca

tion

CFi

lmin

g –

Loca

tion

DFi

lmin

g –

Loca

tion

EFi

lmin

g –

Loca

tion

FFi

lmin

g –

Loca

tion

G

PPos

tpro

du

ctio

nLo

ggin

g an

d t

ran

crib

ing

foot

age

Prep

arin

g a

scri

pt

Rev

iew

ing

scri

pt

wit

h c

o-w

orke

rs a

nd

all

ies

Edit

vid

eoK

ey a

dvo

cacy

eve

nts

to

lau

nch

vid

eo

PAR

T4

:Im

plem

enti

ng

the

Out

reac

han

dA

dvoc

acy

usin

gyo

urV

ideo

In v

ideo

adv

ocac

y, t

acti

cal a

nd s

trat

egic

dis

trib

utio

n of

the

vid

eo is

the

key

ele

men

t in

ach

ievi

ng c

hang

e. I

t is

oft

en n

ot t

he n

umbe

r of

peo

ple

who

hav

e se

en t

he v

ideo

tha

t is

mos

t im

port

ant

but

rath

er w

heth

er t

he v

ideo

has

rea

ched

key

aud

ienc

es w

ith

a po

wer

to

mak

e a

diff

eren

ce.

Dis

trib

utio

n ca

n be

eff

ecte

d in

a n

umbe

r of

way

s, in

clud

ing

face

to

face

mee

ting

s, s

cree

ning

s at

key

eve

nts,

pri

vate

scr

eeni

ngs,

con

fere

nces

,he

arin

gs, b

rief

ings

, dis

trib

utio

n to

key

adv

ocac

y/ca

mpa

ign

allie

s an

d pa

rtne

rs f

or u

se in

the

ir a

dvoc

acy

etc.


297

1)W

ill

it b

e u

sefu

l to

dev

elop

acc

omp

anyi

ng

mat

eria

ls s

uch

as

a br

iefi

ng

pac

k, a

ctio

n k

it, f

act

shee

t or

scr

een

ing

man

ual

to

gow

ith

th

e vi

deo

? If

so,

wh

at w

ould

th

ey c

onta

in?

2)W

ho

wil

l be

you

r al

lies

in

get

tin

g th

e vi

deo

to

you

r in

ten

ded

au

die

nce

s bo

th n

atio

nal

ly a

nd

in

tern

atio

nal

ly (

incl

ud

ing

NG

Os,

net

wor

ks, a

llie

s, m

edia

org

aniz

atio

ns

etc.

)? A

re t

her

e gr

oup

s w

ho

alre

ady

hav

e th

e co

nn

ecti

ons

to r

each

you

rin

ten

ded

au

die

nce

s? H

ow c

an y

ou i

nvo

lve

thes

e gr

oup

s fr

om a

n e

arly

sta

ge i

n y

our

vid

eo a

dvo

cacy

pro

cess

in

ord

er t

ose

cure

th

eir

com

mit

men

t?

3)W

hat

lev

el o

f m

edia

exp

osu

re a

re y

ou l

ooki

ng

for

wit

h t

his

cam

pai

gn?

Plea

se n

ote

any

con

cern

s to

be

awar

e of

in

ter

ms

ofth

e p

rese

nta

tion

of

the

issu

e in

th

e m

ass

med

ia.

4)If

you

in

ten

d t

o u

se t

he

mas

s m

edia

, wh

ich

med

ia o

rgan

izat

ion

s w

ould

you

tar

get

nat

ion

ally

or

inte

rnat

ion

ally

? D

o yo

ual

read

y h

ave

con

tact

s w

ith

in t

hes

e or

gan

izat

ion

s? P

leas

e n

ote

that

med

ia o

rgan

izat

ion

s m

ay b

e re

luct

ant

to b

road

cast

you

rad

voca

cy f

oota

ge o

r vi

deo

for

a v

arie

ty o

f re

ason

s. H

owev

er, t

hey

may

sti

ll b

e w

illi

ng

to u

se s

ome

of t

he

mat

eria

l as

B-r

oll

for

a sp

ecif

ic n

ews

item

or

to i

nst

igat

e th

eir

own

in

vest

igat

ion

bas

ed u

pon

th

e m

ater

ial

pre

sen

ted

to

them

.

MMED

IAO

RG

AN

IZA

TIO

NCC

ON

TA

CT

EEX

IST

ING

?WW

HA

TD

IMEN

SIO

NO

FT

HE

VID

EO’S

STO

RY

MA

YIN

TER

EST

TH

ISM

EDIA

OU

TLE

T?

WH

AT

WIL

LBB

ET

HE

CH

ALL

ENG

ESIN

SEC

UR

ING

CO

VER

AG

ET

HA

TR

ETA

INS

YO

UR

AD

VO

CA

CY

MES

SAG

E?


298

5)B

ased

on

th

ese

con

sid

erat

ion

s ex

pan

d o

n t

he

aud

ien

ce d

istr

ibu

tion

ch

art

you

cre

ated

in

par

t 1

to c

reat

e an

ou

trea

ch p

lan

,w

ith

addi

tion

al c

lear

tim

elin

es a

nd d

ivis

ion

of r

espo

nsib

iliti

es.

AAU

DIE

NC

EAA

CT

ION

SOU

GH

TCC

ON

TA

CT

DDET

AIL

SFO

RAA

UD

IEN

CE

DDIS

TR

IBU

TIO

NTT

IMIN

GPP

AR

TN

ERST

AFF

MME

MB

ER/

OR

AAL

LY

RRE

SPO

NSI

BL

EFO

ROO

UT

RE

AC

H

SSTA

TU

SO

FOO

UT

REA

CH

(TO

BBE

UPD

AT

EDA

SYY

OU

PRO

GR

ESS)

Exam

ple:

Sene

gale

sePr

esid

ent

Fina

ncia

l and

polic

yco

mm

itm

ent

tosu

ppor

t la

ndm

ine

vict

ims

Via

Pri

vate

Secr

etar

y at

xxx

xph

one/

emai

l

Via

a p

riva

tesc

reen

ing

onD

ecem

ber

12,

2004

org

aniz

edw

ith

othe

r N

GO

sin

our

ant

i-la

ndm

ines

coal

itio

n.

- C

oinc

ides

wit

hla

unch

of

inte

rnat

iona

lad

voca

cyca

mpa

ign

arou

ndim

plem

enta

tion

of la

ndm

ine

conv

enti

on.

- Pr

ior

to p

ublic

laun

ch o

f vi

deo

and

med

iare

leas

e.

Part

ner

advo

cacy

coor

dina

tor

Scre

enin

g ve

nue

iden

tifi

ed a

ndbo

oked

; pla

nnin

gm

eeti

ngsc

hedu

led

wit

hal

lies


299

6)T

he

mos

t su

cces

sfu

l ca

mp

aign

s in

corp

orat

ing

vid

eo a

dvo

cacy

rel

y on

usi

ng

dif

fere

nt

vid

eo s

trat

egie

s in

seq

uen

ce, s

o th

eim

pac

t of

on

e ac

tion

bu

ild

s on

an

oth

er?

For

exam

ple

, you

mig

ht

coor

din

ate

the

rele

ase

of y

our

mat

eria

l to

tel

evis

ion

to

buil

d a

nd

in

crea

se p

ress

ure

aft

er y

ou h

ave

had

th

e op

por

tun

ity

to e

nga

ge g

rass

root

s n

etw

orks

via

scr

een

ings

, an

d t

o sh

owth

e vi

deo

in

a p

riva

te m

eeti

ng

wit

h d

ecis

ion

-mak

ers

in t

and

em w

ith

wri

tten

rep

orts

an

d o

ther

ad

voca

cy t

ools

. Ple

ase

con

sid

er w

her

e th

ere

are

the

pos

sibi

liti

es f

or d

oin

g th

is a

nd

in

corp

orat

e th

em i

nto

th

e ch

art

abov

e.

7)Lo

okin

g at

th

e d

istr

ibu

tion

au

die

nce

s yo

u h

ave

iden

tifi

ed, h

ow m

any

cop

ies

of y

our

vid

eo w

ill

you

nee

d t

o d

istr

ibu

tein

tern

atio

nal

ly, r

egio

nal

ly, n

atio

nal

ly a

nd

loc

ally

? W

hat

for

mat

is

opti

mal

for

th

is d

istr

ibu

tion

(V

HS

Pal/

NT

SC, D

VD

, VC

Det

c.)

VVH

S-N

TSC

VVH

S-P

AL

DDV

DVV

CD

BBR

OA

DC

AST

-QU

AL

ITY

CCO

PIES

FOR

MED

IAUU

SELo

cal

Reg

ion

alIn

tern

atio

nal

USA


AAP

PE

ND

IX:

AU

DIO

VIS

UA

LC

OM

PO

NE

NT

S

All

vid

eo i

s m

ade

up

of

com

bin

atio

ns

of v

isu

al a

nd

au

dio

ele

men

ts. T

hin

k cr

eati

vely

an

d e

xpan

sive

ly a

bou

t d

iffe

ren

t ki

nd

s of

sou

nd

an

d i

mag

es.

Wh

at w

ill

mak

e th

is s

tory

vis

ual

ly i

nte

rest

ing?

Can

you

tel

l yo

ur

stor

y u

sin

g d

iffe

ren

t co

mbi

nat

ion

s of

vis

ual

s an

d a

ud

io c

omp

onen

ts?

Wh

at w

ill

hav

e m

ost

imp

act

on y

our

aud

ien

ce?

Wh

at d

o yo

u h

ave

acce

ss t

o gi

ven

sec

uri

ty, b

ud

get

and

tim

e co

nst

rain

ts?

Can

you

mak

e a

virt

ue

out

ofn

eces

sity

?

Som

e ki

nd

s of

vis

ual

s an

d a

ud

io t

o th

ink

abou

t:

1.V

isu

als

* V

isu

al a

nd

au

dio

doc

um

enta

tion

of

even

ts h

app

enin

g –

Peop

le d

oing

th

ings

, wit

hou

t co

mm

enta

ry.

* La

nd

scap

es, l

ocat

ion

s an

d i

nan

imat

e ob

ject

s th

at a

re p

art

of t

he

stor

y.*

Inte

rvie

ws

– O

ne

or m

ore

peo

ple

an

swer

ing

qu

esti

ons,

pos

ed t

o th

em b

y an

in

terv

iew

er o

n o

r of

f-ca

mer

a w

ho

may

be

edit

ed o

ut

of t

he

fin

alfi

lm.

* C

onve

rsat

ion

s ob

serv

ed –

Peo

ple

aw

are

of t

he

pre

sen

ce o

f a

cam

era,

bu

t n

ot b

ein

g in

terv

iew

ed d

irec

tly.

* C

onve

rsat

ion

s or

peo

ple

tal

kin

g to

eac

h o

ther

, wit

h t

he

cam

era

un

obtr

usi

ve o

r h

idd

en.

* R

e-en

actm

ents

– F

actu

ally

acc

ura

te r

ecre

atio

ns

of s

cen

es t

hat

cou

ld n

ot b

e fi

lmed

, or

are

in t

he

pas

t. R

emem

ber

that

th

ere

may

be

cred

ibil

ity

pro

blem

s w

ith

th

is i

n t

he

hu

man

rig

hts

con

text

, par

ticu

larl

y if

th

e re

ason

s ar

e u

ncl

ear

to t

he

aud

ien

ce w

hy

a sc

ene

cou

ld n

ot b

e fi

lmed

, or

nee

ded

to

be r

e-en

acte

d.

* Ex

pre

ssio

nis

tic

shot

s –

Oft

en s

ymbo

lic

or a

rtis

tic,

to

rep

rese

nt

a co

nce

pt

or p

rovi

de

visu

als

wh

ere

you

do

not

hav

e ac

cess

to

the

loca

tion

, e.g

. in

his

tori

cal

inte

rvie

ws.

* M

anip

ula

tion

of

imag

ery

via

slow

-mo,

fas

t-fo

rwar

d, m

otio

n-c

aptu

re e

tc.

* St

ill

ph

otos

or

doc

um

ents

– E

ith

er s

tati

c or

sh

ot w

ith

th

e ca

mer

a p

ann

ing/

trac

kin

g or

zoo

min

g in

or

out.

* T

ext

incl

ud

ing

on-s

cree

n t

itle

s, h

ead

lin

es, a

nd

gra

ph

ics

– U

sed

for

cre

ativ

e an

d i

nfo

rmat

ion

al p

urp

oses

, in

clu

din

g su

btit

les

for

fore

ign

lan

guag

es. T

hes

e ar

e u

sual

ly a

dd

ed i

n t

he

edit

ing.

* Li

brar

y, n

ews

and

arc

hiv

e fo

otag

e –T

his

cou

ld b

e fr

om a

pro

fess

ion

al a

rch

ive,

bu

t al

so p

erso

nal

mem

orab

ilia

, an

d p

ossi

bly

mat

eria

l fr

om o

ther

film

s. R

emem

ber

foot

age

from

a c

omm

erci

al s

ourc

e is

usu

ally

exp

ensi

ve a

nd

com

pli

cate

d t

o ge

t p

erm

issi

on f

or.

* B

lan

k sc

reen

– C

ausi

ng

the

view

er t

o re

flec

t on

wh

at t

hey

hav

e ju

st s

een

or

hea

rd, p

rim

e th

em f

or w

hat

is

nex

t, i

nd

icat

e a

chan

ge o

f se

qu

ence

or l

ocat

ion

, or

to e

mp

has

ize

sou

nd

s.

2.A

ud

ioo

rSo

un

dEl

emen

ts*

Inte

rvie

wee

– Y

ou c

an u

se a

ud

io o

nly

, or

aud

io f

rom

a p

ictu

re-a

nd

-sou

nd

in

terv

iew

wit

h a

ud

io o

nly

use

d, o

r bo

th p

ictu

re a

nd

au

dio

use

d.

* C

onve

rsat

ion

s –

Eith

er r

ecor

ded

wit

h t

he

par

tici

pan

ts’ k

now

led

ge o

r u

nob

tru

sive

ly/s

ecre

tly.

* N

arra

tion

– C

ould

be

a n

arra

tor,

th

e fi

lmm

aker

or

a p

arti

cip

ant.

* Sy

nch

ron

ous

Sou

nd

– S

oun

d s

hot

wh

ile

film

ing.

* So

un

d e

ffec

ts –

In

div

idu

al s

oun

ds

shot

wh

ile

film

ing,

or

at a

lat

er p

oin

t.*

Mu

sic

– T

his

is

usu

ally

ad

ded

in

ed

itin

g.*

Sile

nce

– T

he

abse

nce

of

sou

nd

can

in

dic

ate

chan

ge o

f m

ood

or

pla

ce, o

r ca

use

th

e vi

ewer

to

refo

cus

on t

he

scre

en.

300


301

Appendix IIWITNESS Footage and Tape Description

Part 1 : Summary

(NOTE: This form may be used for a single tape or for a group of related tapes. Please use the Part 2 : Log or Transcript to shotlist or transcribe each individual tape.

Partner / Source Name____________________________________________________________________________________________________________________________________________________________________________________________

Tape Number / Title__________________________________________________

Date(s) video was shot________________________________________________

Location(s)_______________________________________________________________________________________________________________________________________________________________________________________________________

Number of Tapes_____________________NTSC or PAL?___________________

Raw footage____________________edited footage or productions_________

Camera Originals or copies?__________________________________________

Should originals or copies be returned to partner?_____________________

Is there a contact person for questions regarding permissions or content?____________________________________________________________________________________________________________________________________________

Videographer(s)______________________________________________________

Language(s)__________________________________________________________

Summary of video content: please describe the events on the tape, the background or context, any signifi cant events leading up to these events, the people or groups involved; or attach or reference any relevant documentation: __________________________________________________________________________________________________________________________________________________________________________________________________


302 Video for Change

________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Are there any quality problems with the tape? (e.g. damage, camera malfunction, audio dropout, ambient noise, etc.)__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Are there any security or safety concerns or restrictions, specifi c or general, relating to this footage? Please describe in detail._______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________


WITNESS Footage and Tape Description 303

Summary of Interviews Please list the names and affi liations of any persons interviewed on the video; if there are security limitations on the use of any interviews, please explain.

Name, Affi liation Use of Name? Use of Face? Signed release?and Notes

1.________________________________________________________________________________________________________________________________________________________________________________________________________________

2.________________________________________________________________________________________________________________________________________________________________________________________________________________3.__________________________________________________________________________________________________________________________________________

4.________________________________________________________________________________________________________________________________________________________________________________________________________________

5. ________________________________________________________________________________________________________________________________________________________________________________________________________________



APPENDIX: WITNESS Footage and Tape Description Part 2: Log or Transcript

Tape Number: Title:

Time-code Description

(please see shot abbreviations and examples below, and use as many pages as necessary to complete the log.)


305

Appendix IIISample Personal Release Form

(Short-Form)

I give my unconditional permission to _____________________, its successors, sponsors, employees, distributors, licensees and assigns ______________ to record and fi lm me, my voice, and/or my appearance, and to make unrestricted use of these recordings and fi lms in any way the Producers see fi t in perpetuity. I understand that Producers shall own all rights in all such recordings and fi lms.

I understand that the Producers are relying on this permission and, therefore, I am making it permanent. Furthermore, I give up any and all claims against Producers in connection with their use of the recordings and fi lms.

___________________________Signature:

___________________________Printed Name

___________________________Date

_________________________________________________________________________________Address

___________________________Telephone Number


306

Appendix IVSample Personal Consent and Release

(Long-Form)

I hereby grant to _______________________, its successors, sponsors, employees, distributors, licensees and assignees (the “Producers”), the unrestricted permission, right and perpetual license to use my name and make still and motion pictures of me and sound recordings of my voice (the “Materials”), and to reproduce, exhibit, broadcast, advertise and exploit all or any part thereof, in and by any media now known or hereinafter to come into existence, throughout the entire world, in connection with their fi lm, the working title of which is _____________________ (the “Film”) or any derivation thereof.

The Producers shall own the copyright and all extensions and renewals thereof and all rights in the Film and in the Materials, which shall be deemed a work made-for-hire for the Producers pursuant to United States copyright laws.

I understand and acknowledge that the subject matter of the Film will deal with issues and events of a personal nature to me and members of my family, which may be depicted in a light favorable or unfavorable to me or my reputation, at the sole discretion of the Producers, and I hereby waive any claim to any moral rights or any violation of my rights to privacy, publicity or confi dentiality pursuant to statute or common law in connection with the Film or any other use of the Materials.

As the Producers propose to act in this Consent and Release forthwith, I hereby declare it to be irrevocable, and hereby release the Producers from any and all claims, liability, actions or demands whatsoever in connection with the use of the Materials of the Film.

_______________________________Signature

_______________________________Printed Name

_______________________________Date

_____________________________________________________________________________________________Address

_______________________________Telephone Number


Appendix VPreproduction and Production Checklist

PREPRODUCTION RESEARCH NOTES

Key messages?

Outline of story and style

Archive footage?

Music?

Previous fi lms/books about subject?

Contacted potential interviewees?

Organized where and when interview fi lming will take place?

Any security threats to consider?

How will you/subjects travel to and from interview and fi lming sites?

Will you fi lm alone?

Fundraising?

PRODUCTION CHECKLIST NOTES

Camera equipment

Camera

Lens cloth

Tapes

Pen to label tapes

Silica gel/desiccant for camera bag

Waterproof cover for camera (may be an umbrella or a real cover)

Charged batteries

Charger

Batteries and extra batteries

Tripod/tripod head

Audio equipment

External microphone(s)

307



Batteries for the microphone(s)

XLR cables

Headphones

Boom pole

Camera adaptor to hold external microphone

Lighting equipment

Light kit (lights, gels, diffuser, clothes pins, stands)

Refl ector

Gloves

Forms/Lists

Producer’s list

Consent/Release forms

Location permit

Interpreter/translator confi rmation

Equipment insurance

Directions, maps of area

Call-sheet (schedule)

Shooting plan

Questions for interviewees

First aid kit

All medical, passport information on crew

Equipment list (with serial numbers)


Appendix VIScript Formatting for Video

Documentary

In a typical documentary script video and audio are placed in separate columns:

VIDEO AUDIO

WS—View of Salween valley, a remote area near the Thai–Burma border MWS—Track along the shore of a village located on the Salween river MWS—Shots of people harvesting crops CU—Women sifting rice

MUSIC: Karen traditional music NARRATOR: This is the Salween valley, located in the hills near the border between Thailand and Burma. It is mainly home to villagers from the Karen ethnic group, who live from fi shing and cultivating fi elds on the slopes

WS—Looking downstream on the river MS—Village leader working with his nets in shallows of river

NARRATOR: Taw Say is a leader of one of the villages that line the Salween river NAT. SOUND of river and harvest noises

MS—Village leader sitting outside of house; with river in background

VILLAGE LEADER: (talks to camera) My name is …. And for many centuries my family has lived here in the Salween valley

Usually in the script you will indicate shot size, and camera movement/action.

In the audio column you list narration, or natural sound, or music cues. It can contain narration or a transcript of what the people onscreen are saying, or at least their fi rst and last words to use as cues to begin and end the shot.

309


Appendix VIICosting-Out Your Video

Distribution Strategy

“Project X” outreach and distribution

Expense detail Cost

Costs

Staff time (outreach) X% of producer’s time/salary; Y% Full-time outreach coordinator

Development and printing of relevant accompanying documentation

X sets of materials at $Y

Targeted screenings Number of conferences and/or special screenings

Dubs (includes tape stock and dubbing)

$X per tape x Y tapes

Post and packing $X average (assuming Y domestic/Z international distribution)

Marketing costs X sets of material at $Y

Total costs

Income

Volunteer time X volunteers at $Y equivalent

Tape sales X copies at $Y

Sales of T-shirts or other items

X sales at $Y

Donations

Ticket sales X sales at $Y

Grants

Total income

Total surplus/loss (Total costs—Total income)

310


Costing-Out Your Video Distribution Strategy 311

Budget narrative guide

• Staff time: The budget for this proposal will include staff time to coordinate outreach and distribution of “Project X,” including preparing accompanying documentation, identifying appropriate audiences, coordinating outreach, organizing and co-facilitating broadcasts, screenings and conferences, and supporting organizers to hold their own screenings.

• Development and printing of relevant accompanying documentation: Includes the costs of copying/printing accompanying materials and reports, as well as the costs to develop screening materials including staff time.

• Targeted screenings: We are budgeting for X conferences and/or special screenings to be conducted by our staff at relevant venues either with key mass audiences or specifi c decision-making audiences. Costs in this budget line include domestic/international transportation, conference fees, and lodging for screening facilitators, as well as costs for renting space for screenings where necessary.

• Dubs: We have a target list of some 150 groups/institutions who will benefi t from access to free copies of “Project X.” This distribution list is based on a detailed breakdown of target groups and outreach strategies.

• Post and packing: Estimated to include envelopes and mailing costs.• Marketing costs: Including posters, fl yers and paid advertisements.• Volunteer time: Include this in your calculation, but remember that

its cash value is only relevant if they replace a role or function that you would otherwise pay for.


Documents

Video for Change · ideo. Pre-production includes researching the issue at hand, fleshing out the themes to be explored, preparing outlines for what you want to cover in your video,