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How to resolve your worries about seminar filming! A thorough explanation of the key points for success, including advance preparation

  • 15 hours ago
  • 27 min read

Filming seminars and lectures can be a headache for corporate representatives.


Some of you may have had the experience of getting the camera rolling only to find that the footage was unusable when you looked back at it later.


However, recorded footage of seminars can be a valuable asset that can be shared within the company or disseminated externally.


In this article, we will explain in detail how to resolve concerns about filming seminars, things to be careful about before and after filming, and tips for success.




Concerns about filming seminars


When filming a seminar, people in charge often express a variety of concerns.


For example, the following points:


  • I'm worried about how participants and speakers will appear

  • I'm worried about how the footage will be viewed both inside and outside the company.

  • I'm worried about disrupting the progress of the event.


Here we take a closer look at these concerns.


LIFE.14 handles over 100 shoots per year, and can also organize not only shoots but also streaming and sound through the same office.


First of all, please tell me about the situation.




I'm worried about how participants and speakers will appear

At corporate seminars, people are concerned not only about the posture and facial expressions of the speakers on screen, but also how the audience members appear on screen.


The impression of the seminar venue can be greatly influenced by the composition of the camera.


For example, if the camera is positioned incorrectly, it may only capture the backs of the attendees, or the venue may appear deserted.


You also want to avoid unnecessary personal belongings on the desks or close-up shots of participants' relaxed expressions.


The key to this is to plan in advance "who will be shown and at what angle, and to what extent."


For speakers, we will ensure that they are photographed from a frontal angle so that their facial expressions are clearly visible, and we will adjust their positioning so that there are no unnecessary objects in the background.


For participants, it is effective to choose a camera position that does not capture more than necessary, or if they do appear, to limit their view to their backs.


In fact, in professional photography, the golden rule is to place the camera in a location that will produce good footage, not in a location that is easy to place, and in some cases, even if the location is a little conspicuous, adjustments will be made to prioritize image quality.


Instead, the photographer takes great care on location, such as keeping a low profile and moving so as not to get in the way.


In any case, these concerns can be alleviated by simulating in advance how the speakers and participants will appear and deciding on the camera position and angle of view.



I'm worried about how the footage will be viewed both inside and outside the company.

When filming a seminar and sharing it later both inside and outside the company, some people express concern that the footage may not be in keeping with the company's atmosphere.


Many people in charge worry about the tone of the video, as it may end up coming across as unexpectedly too casual, or conversely, too stiff and difficult to watch.


It is important to verbalize any concerns you may have about how you will be perceived both inside and outside the company before filming begins.


For example, you should share with all parties involved in advance the direction of the production based on the purpose of the video, such as "Since this is for in-house training, I want the atmosphere to be friendly and not too formal," or "Since this is for customer PR, I want the video to have a strong, trustworthy feel."


If you clarify your purpose and audience, you can determine the direction of your camera work and editing during filming, preventing mismatches such as the footage being "too rough" or "too stiff."


In fact, the shooting style required will vary depending on who you are showing the seminar video to and what purpose it will be used for.


The equipment and presentation you need to prepare will differ depending on whether you want to use it for internal records so that the content is easy to understand, or whether you want it to look good for external audiences.


By discussing these points in advance, you can reduce the risk of the finished video not meeting your expectations.



I'm worried about disrupting the progress of the event.

Many organizers are also concerned about whether they will be able to film without disrupting the actual progress of the seminar.


It is natural to have concerns such as whether the cameraman will stand too far forward and block the participants' view, whether tripods and cables will interfere with the flow of people around the venue, and whether the noise and lighting from the camera equipment will distract the speakers.


In fact, there is sometimes a trade-off between event progression and clear video capture.


However, professional photographers know how to find a sweet spot to balance both.


For example, flash photography is generally not used when shooting video because frequent use of it can ruin the atmosphere of the venue and cause speakers and participants to lose concentration.


In addition, we will take care to avoid capturing people who enter late, and will set the cameras in a location that does not obstruct the aisles.


Furthermore, by discussing in advance with the organizers detailed rules such as "how close you can get to take photos" and "this part will be shared with the stills photographer," you can make smoother decisions on the day.



What you need to do to successfully shoot a seminar


To ensure a successful seminar shoot, there are a few things you should keep in mind:


  • Record audio clearly

  • Make sure you have a clear view of both the slides and the speaker

  • The content must accurately convey the scale of the venue.


Here we take a closer look at the key points to success in each.


Our company, LIFE.14, has over 10 years of practical experience in the event field.


We will be present from the time of clarifying the requirements, so please consult with us first.




Record audio clearly

The main factor that determines the quality of a seminar video is the audio.


You can continue watching even if the image is a little dark or grainy.


However, if the audio has a lot of noise or is of poor quality, people will not be able to continue watching the video.


A common example of failure is when the instructor's voice is so quiet that it is barely audible when recorded.


Looking back at the causes, some of the issues were a lack of preparation, such as only using the camera's built-in microphone to pick up sound, and not connecting the sound coming from the venue's PA (sound equipment) to the camera via a line.


To record audio clearly, it is ideal to receive the microphone audio directly from the sound console at the venue and input it into a camera or recorder, if possible.


Even if the venue is unable to provide sound equipment, the filming staff will bring in pin microphones (lavalier microphones) or directional microphones to ensure that the speaker's voice can be picked up reliably near the venue.


For example, in professional filming, double precautions are taken: the lecturer is equipped with a wireless pin microphone, and the audio from the venue speaker's microphone is also recorded as a backup.


In addition, it is important to take measures to suppress surrounding noise and reverberation.


By using a highly directional microphone to cut out unnecessary environmental noise and applying noise reduction processing during editing, you can create a video in which the instructor's voice is clearly heard without being drowned out.


Check the audio even more thoroughly than the video, and during the rehearsal phase make sure things like "Is the microphone connected correctly?", "Is there any feedback?", and "Is the location low-noise?"


It is said that many audio problems can be prevented with advance checks, and ensuring clear audio is the key to successful seminar filming.



Make sure you have a clear view of both the slides and the speaker

In seminars, in addition to the video of the speakers, the content of the projected materials (slides) is also important.


Therefore, it is necessary that the recorded footage clearly shows both the speaker and the slides on the screen.


If only one side is clear and the other is difficult to see, it will be difficult for people who watch the video at a later date to understand it.


However, in reality, it is not easy to display both the slides and the speaker clearly at the same time.


A common example of a mistake is when you take a picture of a slide projected onto a screen in the venue, but it turns out to be so bright that the text turns out completely white and becomes unreadable.


This was due to the fact that I relied on the camera's automatic exposure and did not have the appropriate equipment for slide photography.


On the other hand, if you prioritize the slides too much and position the camera too far back, the lecturer may appear as small as a bean on the screen, making it difficult to tell who is speaking.


To ensure that both the slides and the speaker are visible at the same time, professional settings typically use multiple cameras, each with its own role.


The main camera takes close-ups and bust shots of the lecturer, while the secondary camera takes a panoramic view of the venue and the screen, combining footage from different angles.


By switching cameras during editing later, viewers will be able to follow the lecturer's facial expressions and the content of the slides without any stress.


If you absolutely must use one camera, you can manually adjust the exposure and focus to find a setting that prevents the slides from being blown out, or you can overlay the slide data images onto the lecturer's footage during the editing stage.


In fact, professional video production involves procedures such as obtaining the original slide data separately and inserting it during editing so that it can be read clearly.


The important thing is to find a balance that allows both the lecturer and the slides to be visible.


During a pre-rehearsal, check the camera angle and discuss things like "when to zoom in on the slides and when to show the speaker's face."



The content must accurately convey the scale of the venue.

At small to medium-sized B2B events, the "sense of scale" such as the number of participants and the atmosphere of the venue will lead to a sense of trust among viewers.


Design the video in an appropriate way to avoid giving the impression that the space is "empty" or "unnaturally exaggerated."


Specifically, it is effective to incorporate appropriate shots of the venue through camera work and editing.


For example, in addition to footage of the speaker taken from the front, adding a shot from behind that captures the backs of the speaker and audience together will make it easier to convey the atmosphere of the venue.


In addition, by appropriately inserting footage of not only the lecturer but also the audience (such as serious nodding expressions and applause), the sense of realism is increased and the enthusiasm of the event is conveyed to viewers.


However, you should also be careful about the extent and frequency of footage of the venue.


Avoid areas with extremely noticeable empty seats from the frame, and when panning the camera, move slowly to create a sense of spaciousness. Try to create an accurate sense of scale without exaggerating or minimizing it.


Whether or not to show the faces of audience members on video also raises privacy issues, which also relates to the topic of participant consent, which will be discussed later.


The important thing is that the scale and excitement of the event is conveyed accurately to those who watch the video.


One way to do this is to identify the necessary shots in advance and make a list so you don't miss any.


For example, it is recommended to include shots that symbolize the scale of the event, such as a full view of the venue before it opens, the reception area, a full audience, and hands being raised during a question and answer session.


By interweaving these shots, the video will be able to convey the "atmosphere of the moment" to the viewer.



Things to decide before filming a seminar

To ensure a successful seminar shoot, there are a few important arrangements that need to be made in preparation before the day arrives.


The main items to check are:


  • Purpose of the video

  • How much is to be recorded?

  • Balancing quality and burden

  • Scope of secondary use of speakers' faces and voices

  • How to film participants (and how to obtain their consent)

  • Video rights


From here, let's take a closer look at the items to check before each shoot.


LIFE.14 has also provided on-site support for numerous international conferences and events related to governments and international organizations.


Even in closed corporate seminars, we will work together to clarify the premise so that all involved parties will not get confused.




Purpose of the video

The first thing you need to decide is the purpose of the footage you are going to shoot.


The appropriate way to shoot and create the footage will vary depending on who you are showing it to and why.


For example, if it is for internal records, it is more important that the content is easy to understand than to go into detail.


On the other hand, if you are distributing the video to business partners or showing it to the public as sales material, the appearance and branding of the video are important.


Also, if it is for in-house training purposes, it is fine to use a lot of technical jargon, but if it is for PR aimed at new customers, you should convey the information in as simple terms as possible.


Once you have decided on your purpose, the necessary shooting style (number of cameras, microphone settings, production tone, etc.) will naturally become clear.


Some items that are likely to be on your pre-checklist are:


  • In-house training?

  • An external presentation?

  • Will it be archived?

  • Is it a digest video?


Furthermore, keep in mind how the video will be used after completion and decide early on how long it will be released, such as whether to post the full-length video on the company intranet or a five-minute highlights version on social media.


This allows you to determine the amount of filming and editing work required, and also prevents misunderstandings among stakeholders.


If the purpose remains unclear, you may be left with a feeling of dissatisfaction after completion, thinking, "It's not what I expected."


To avoid this, it is important to clarify your purpose and target from the start.



How much is to be recorded?

The next thing you need to decide is the extent to which you will video record the event on the day.


Seminar photography is not limited to lectures.


You may be asked to keep records from the reception to the social gathering.


Therefore, it is important to define in advance the scope of what will be recorded, such as "Should we also take photos of the reception scene before the opening and the exterior of the venue?" or "Should we also record the exchange of business cards and networking after the lecture?"


The number of cameras, operators, and shooting schedule required will change depending on the range setting.


For example, if you are only recording the lecture portion, you may need a single camera, but if you are also including the social gathering, you may need another handy camera that is easy to move around in.


The shooting range also affects the editing policy in the post-process.


The production effort and costs involved will vary depending on whether you record the entire 90-minute seminar or create a 15-minute digest version that only includes the key points.


By deciding in advance how much to record and how much to summarize, collaboration with the production company will be smoother and cost-effective.



Balancing quality and burden

Another point that should be discussed in advance is the extent to which video quality should be pursued.


Generally, the higher the quality you aim for, the more restrictions there are on preparation and on the day, which tends to increase the burden on those in charge and speakers.


For example, if you want movie-like quality, you will need more cooperation from the organizers, such as allocating time for advance rehearsals, bringing in additional filming equipment, and setting up lighting.


On the other hand, if you accept that "it's OK as long as there is at least some recorded footage," you can simplify preparations and reduce the pressure on the day.


The important thing is to share the organizer's burden and the compromise on video quality at an early stage.


If you try too hard to be perfect, it could actually hinder the running of the event on the day.


In fact, when filming in-house, a common occurrence is that the person in charge of filming is a family member and is too reserved, placing the camera in a place that won't get in the way, resulting in poor quality footage.


Professionals will be able to find a shooting position that is just big enough to take a good picture without being in the way or causing an eyesore.


However, when those involved take on the role of photographer, they tend to be hesitant and prioritize the progress of the event, putting photography on the back burner.


Therefore, the filming team and the organizers should discuss "what level of image quality and production we are aiming for, and how much of a burden we are willing to accept."


For example, a balance is struck that satisfies both parties, such as "We will ensure good image quality with two cameras and simple lighting, but leave two seats at the back of the venue as equipment space," or "We will ask speakers not to walk around for the sake of the performance, but we will omit pre-checking their movements."


There can sometimes be a trade-off between events and filming, but if you find a good compromise from the start, you can aim for footage that is highly satisfying without putting too much strain on those involved.



Scope of secondary use of speakers' faces and voices

When filming a seminar, decide in advance how much of the speakers' faces and voices you will be allowed to use in the recorded footage.


The recorded footage not only captures what is being said, but also the speaker's appearance, voice, name, and everything else.


The scope of permissible use will vary depending on whether the video will be viewed internally at a later date, shown to business partners, or distributed as sales material.


Particular care is required when the speaker is not an employee of your company.


Even if external lecturers or guests agree to being filmed on the day, they may not be aware that the footage will be used for other purposes later.


The content of the lecture may be protected as a copyrighted work and the copyright may belong to the speaker.


In addition, since the handling of the speaker's image and voice (image rights and contractual consent) is also involved, it is important to obtain prior consent regarding the scope of secondary use.


Article 17 (Author's Rights)
Article 17. Authors shall enjoy the rights provided for in Article 17, paragraph 1, Article 19, paragraph 1, and Article 20, paragraph 1 (hereinafter referred to as "moral rights"), as well as the rights provided for in Articles 21 to 28 (hereinafter referred to as "copyright").
2. The enjoyment of moral rights and copyright does not require any formal performance.
Article 21 (Reproduction Rights)
Article 21. The author has the exclusive right to reproduce his or her work.
Article 27 (Translation rights, adaptation rights, etc.)
Article 27 The author shall have the exclusive right to translate, arrange, or transform his work, or to dramatize, film, or otherwise adapt it.
Article 28 (Rights of the original author regarding the use of derivative works)
Article 28. The author of the original work of a derivative work shall have the same exclusive rights as those provided for in this Subsection with respect to the exploitation of the derivative work as the author of the derivative work.
Source: Copyright Act | Articles 17 , 21 , 27 , and 28

In other words, the speaker has the rights to their own video and audio, and consent is essential for any secondary use of that video and audio.


Therefore, before filming, be sure to share with the speakers how much of the footage you will use and how long you will keep it.


For example, you can make specific decisions such as "make it available on the internal portal for a limited period of time" or "distribute a digest version outside the company for sales purposes, but blur out the faces of the speakers."


If you neglect to check in advance, even if the content is good, the video itself may become unusable later.


In some cases, it may be better to put it in writing in the form of a contract or agreement.


In addition to providing on-site support, LIFE.14 also shares operational precautions and points to check from the distribution design stage to support smooth progress.


If you want to avoid situations where the footage you have taken becomes unusable later, please feel free to contact us.




How to film participants (and how to obtain their consent)

When filming a seminar, there is a high chance that not only the speakers but also the participants sitting in the audience will be captured in the footage.


The camera is generally aimed toward the podium, but depending on the size of the venue and the camera's angle of view, participants' backs, profiles, applause, and other images may naturally be captured.


There are some situations that are difficult to avoid completely.


Problems often arise when the person in the video feels that they "didn't realize they were being filmed" or "didn't know the footage would be saved."


In such cases, you may later be asked not to use the footage or to delete it.


In fact, from the perspective of portrait rights, the right to not have photos or videos of one's face published without one's consent tends to be protected.


Therefore, it is essential to inform participants in advance that "this seminar will be filmed" and "the audience may be filmed."


Specifically, include a message such as "*Photos and videos will be taken at this event for record purposes. Please be aware of this in advance" in the information email sent when registering participants and on the reception sign on the day.


Since it is difficult to obtain individual consent forms at events where an unspecified number of people are participating, an effective method is to post notices at the venue informing people that entry is considered to be consent.


Also, consider ways to ensure that participants cannot be identified in the video.


For example, you could shoot from the back so that the faces of participants are not visible, or blur the faces of participants who appear in the photos during editing.


Your response should be flexible and depend on the nature of the event and your risk tolerance.


By taking such precautions in advance, you can put participants at ease and create a shooting environment that is less likely to cause any problems later on.



Video rights

The last thing you want to confirm is who owns the rights to the finished video.


When filming a seminar, three parties are involved: the hosting company, the speakers, and the person in charge of filming (production company or cameraman).If you do not clarify in advance who owns the copyright and usage rights to the footage, you may not be able to make a decision when it comes to using it internally or releasing it to the public later.


If a video falls under the category of a "cinematographic work," the concept of Article 29 may become an issue regarding copyright ownership.


Article 29
Article 29. The copyright in a cinematographic work (other than one to which the provisions of Article 15, paragraph (1), the following paragraph or paragraph (3) apply) belongs to the producer of the film if the author has promised the producer that he will participate in the production of the cinematographic work.

Therefore, even if a company commissions an outside company to produce a video, the copyright is likely to remain with the production company unless otherwise specified in the contract.


In fact, even if you think, "I paid for the video to be made for my company, so I should be able to use it freely," there are cases where the production company will stop you from using it without permission if there is no provision in the contract.


Therefore, it is important to clearly document the rights involved.


If you include a clause in the production contract stating that "the copyright of the finished video will be transferred to the client," you won't have to worry about disputes over ownership of the rights.


Article 27 (Translation rights, adaptation rights, etc.)
Article 27 The author shall have the exclusive right to translate, arrange, or transform his work, or to dramatize, film, or otherwise adapt it.
Article 28 (Rights of the original author regarding the use of derivative works)
Article 28. The author of the original work of a derivative work shall have the same exclusive rights as those provided for in this Subsection with respect to the exploitation of the derivative work as the author of the derivative work.

On the other hand, if the contract does not state this and does not mention copyright, it is wise not to simply assume that the copyright belongs to you.


This is because the production company may be thinking that the payment is merely for the cost of producing the video and does not include the payment for transferring the copyright.


In addition, with regard to the speakers, the copyright to the content of the lecture itself belongs to the speaker, so permission must also be obtained if the lecture is to be made public outside the company.


With the above in mind, it is important to clarify in advance who can use the footage and to what extent, and if necessary, to set out this in a contract or agreement.



Points to check regarding the seminar filming system on the day


Before the day of shooting, it is necessary to confirm the technical setup on site.


In particular, be sure to keep the following points in mind.


  • Number of cameras and fixed positions

  • Lighting (visibility of speakers)

  • Prepare for the unexpected


From here, let's take a closer look at the points you should check regarding the shooting setup on the day.



Number of cameras and fixed positions

The first thing to consider is how many cameras you need and where you want to place them.


The appropriate number of cameras will vary depending on the seminar content and production policy.


A simple lecture can be recorded with just one fixed camera, but by using multiple viewpoints, the visibility and realism of the video will be significantly improved.


For example, one camera can be placed in front of the lecturer to capture the entire image, and the other camera can be rotated at a slight angle to capture close-ups of the lecturer or for slides.


This will keep viewers entertained as the appropriate transitions can be made later in the editing process.


In fact, in professional settings, the basic setup is two cameras: a main camera and a sub-camera, which cover both the instructor's entire body as well as their facial expressions and slides.


If there is time, I sometimes use another camera with a wide angle from the back of the audience to take shots of the entire venue or to capture the atmosphere.


Conversely, having too many cameras unnecessarily complicates operations and causes confusion.


If you are working with limited personnel, determine what angles you really need and narrow down the number of units to an appropriate number.


Next, the location of the camera is also important.


Generally, it is best to position yourself closer to the center so that you can see the instructor directly in front of you.


At the same time, find a location that won't obstruct traffic or views within the venue.


If possible, set up the camera seat in the center of the back of the venue and set up the tripod at a height that allows you to see the podium and screen in its entirety to get stable footage.


Also, when placing a sub-camera, aiming it diagonally in front of the lecturer (around the edge of the audience seats) will make it easier to capture their profile and slides.


Please check the venue layout diagram in advance and consider the optimal camera placement, taking into account the location of power sources and the width of aisles.


When producing in-house, it is common to "place the camera in a corner by the wall out of consideration for those involved," but this will not result in good footage.


If you are a professional, it is most important to secure a tripod area in the center of the rear of the audience if necessary, and to find the best position without getting in the way.


If you are using multiple cameras, make sure to position them so that they do not appear in each other's photos.


If you can complete these arrangements and number of units by the morning of the day, filming during the performance will go smoothly.



Lighting (visibility of speakers)

The next thing to check is whether the speakers can be seen clearly in the lighting.


Depending on the venue, the existing lighting may be bright enough, but in other cases the lighting may not reach the speakers, causing their faces to appear dark and gloomy.


In particular, in hotel banquet halls and large conference rooms, lighting shines down evenly from the ceiling, which can cast shadows on the face of the lecturer standing at the podium.


In such cases, simple lighting adjustments can make the images look much better, so be sure to check in advance whether the venue has the equipment to shine a spotlight on the speakers.


If there is no lighting equipment, the filming staff can bring in a small LED light and set it up near the podium.


Additionally, the bright image from the projector can reflect off the screen and illuminate the instructor's face, making them appear pale and unhealthy.


In this case, you can solve the problem by adjusting the brightness and position of the projector or correcting the white balance on the camera side.


If the venue is dark or there is strong backlighting, the image will be difficult to see, so it is recommended that you check the lighting conditions of the venue in advance and prepare additional lighting if necessary.


For example, if it is daytime, ask the blinds to be lowered, and if it is nighttime, dim the lighting from behind to create more light.


The impression of the video can be improved with just a little bit of lighting adjustment, so check the lighting during rehearsals and make sure it is bright enough to clearly see the speakers' complexions and expressions.


Simply mentioning this topic beforehand will put the organizers at ease.


You want to eliminate any worries about your face appearing dark in the photos and prepare so that you can take the photos in the best lighting possible on the day.



Prepare for the unexpected

Be aware that unexpected incidents and changes to plans may occur on the day of the seminar.


For example, various irregularities can occur on-site, such as "another speaker was added at the last minute," "the previous session ran late and the start time was delayed," or "the lecturer unexpectedly got off the stage and started walking through the audience."


In order to allow the filming crew to respond flexibly in such cases, the organizer and the filming staff will decide on a means of contact on the day.


For example, if a talk session is about to extend beyond the allotted time, a chat tool or intercom can be provided that allows the event manager and the photography director to communicate directly so that they can immediately discuss what to do with the program afterwards.


It is also important to be prepared for equipment problems.


In case of camera or recording device malfunction, we bring backup equipment and spare batteries and media so that we can continue filming even if our main equipment stops working.


To reduce the risk of unexpected problems occurring and preventing work from proceeding according to schedule, professional planning also involves setting aside extra time (buffer) for each process.


Furthermore, it will be reassuring for the organizers if you indicate that you will be able to flexibly respond to changes in speakers' movements and schedules.


Make suggestions based on past experience, such as "The camera will follow the instructor even if he or she goes down to the floor," or "Editing adjustments can be made if time is running short."


Also, just in case, make sure to check whether reshooting or last-minute editing is possible (if you are hiring a professional).


Filming is a one-shot deal, but with thorough preparation and a flexible mindset, you can deal with minor mishaps.


The professional attitude is to take into account the possibility that things may not go as planned on the day, but to approach the shoot with the determination to ``capture good footage even so.''



Problems that tend to arise after filming a seminar

Even after the seminar has ended successfully and filming has been completed, there are still some points that tend to cause concern for those in charge.


The three most common ones are:


  • deadline

  • How much should be corrected?

  • How to handle it within the company


From here, we will take a closer look at some of the concerns that are likely to arise after shooting.


LIFE.14 has many ongoing transactions, and we are proceeding with the premise of an operational design that will ensure smooth internal sharing of information after delivery.


If you are unsure about the deadline or where revisions will be required, first clarify the assumptions.




deadline

For those in charge, the question of "when will the finished video arrive?" is a concern.


The sense of relief that comes with the seminar being over is short-lived, as you become anxious when it is unclear how long it will take to edit and deliver the work.


Therefore, it is important to clearly state the delivery schedule for the video in advance.


When requesting filming, we will coordinate with the production team the approximate time it will take to complete editing.


For a typical internal event video, the guideline is that it will take about 1-2 weeks for simple editing and 3-4 weeks for more elaborate editing, but this will vary depending on the scale and content.


The important thing is to agree on a specific schedule, such as "Submit the first draft by a certain date, go through revisions, and deliver in MP4 format on a certain date."


If you have a tight schedule and would like a short delivery time, be sure to let the other party know.


If you clarify things like "Can we handle it if it's urgent?" and "Will there be any additional charges?", you can avoid the inconvenience of things taking longer than expected later.


The video production company will also adjust priorities with the mindset of "finish by a certain date."


On the other hand, even if you have time, make sure to leave enough time between submitting the first draft and final delivery.


Even the most reputable production company will sometimes need revisions at the first draft stage.


Therefore, it is wise to set aside spare days for each process by counting backwards from the final delivery date.



How much should be corrected?

Another point that the person in charge is concerned about is "how much revision and editing will be done" on the finished video.


After checking the first draft of the video, we often receive requests such as "I want to cut this line out" or "I want the company logo at the beginning."


However, there are concerns that it is unclear to what extent requests will be accepted and how many revisions will be possible.


To avoid this, decide the scope and rules of corrections in advance.


For example, you could draw a line like, "Minor cuts and edits or inserting subtitles will be covered within the basic fee, but major revisions that change the composition will incur additional fees or extend the delivery date."


It is also important to have a thorough discussion before submitting the first draft and have them submit a video that is as close to the ideal as possible.



How to handle it within the company

Finally, think ahead about how you will handle the finished video within your company.


Even if you manage to create a great video, it won't be put to good use if you can't play it within the company or don't know how to share it.


As a person in charge, it can be worrying if you can't imagine how the completed work will be saved or how it will be shared within the company.


Generally, the video files delivered are in MP4 format, which is easy to play on a computer.


MP4 is a universal format that can be played on most devices and is also suitable for sharing on an internal network.


However, when it comes to long full HD videos, the file size can be several GB, making it difficult to attach them to emails.


For this reason, it is common to upload the file to an internal file server or cloud storage and share the link with relevant parties.


Alternatively, they may be saved on a USB memory stick or external hard drive and circulated.


Regardless of the method you choose, it's a good idea to decide in advance what format and medium the content will be delivered on.


Also, if you have an internal company portal or intranet, consider posting the video on that platform.


Depending on the system requirements of the publishing destination, there may be restrictions on video resolution and file size.


If necessary, you can also ask the production company to provide a lightweight version with a lower bitrate.


Additionally, you should plan how you will inform your audience (whether by email or by showing the video at a meeting).


Organizing the process after filming is important to increase the client's satisfaction and make effective use of the footage.


To avoid panicking after delivery, it's a good idea to think of it in terms of a scenario, such as, "The file will be delivered in XX format. It will be saved in △△ internally and distributed to those who request it."



Seminar photography examples

Finally, we would like to introduce some examples of seminar photography that our company, LIFE.14, has undertaken.


  • Switzerland-Japan Economic Forum

  • An event hosted by the embassies of five Nordic countries

  • Corporate seminars


Let's take a quick look at each case.



Swiss-Japanese Economic Forum

This was a Japan-Switzerland economic forum hosted by the Swiss Embassy in Japan and the Swiss Chamber of Commerce in Japan.


Experts from both Japan and Switzerland gathered at Tokyo Midtown in Roppongi to discuss sustainability themes such as biodiversity and regenerative economy.


LIFE.14 was responsible for the venue sound, screen management, and online distribution of this hybrid forum.


This is an example of how an international forum hosted by an embassy was managed by smoothly combining in-person and online events, thanks to the assistance of staff with extensive on-site experience.




An event hosted by the embassies of five Nordic countries

Our company, LIFE.14, has experience in filming and streaming international events hosted by the embassies of five Nordic countries (Norway, Iceland, Denmark, Finland, and Sweden).


We were in charge of filming, streaming, and photography for "Nordic Talks Japan," a hybrid event series co-hosted by the embassies of five Nordic countries.


"Nordic Talks Japan" is a hybrid event series that discusses social issues that Nordic countries and Japan face in common, such as energy, climate, and demographics.


At the "Challenges of Female Scientists - Breaking the Glass Ceiling" event held on March 6, 2024, scientists from Japan, Finland, and Iceland spoke on the theme of women's achievements and challenges in the STEM fields.


For this event, LIFE.14 handled the hybrid format, combining in-person and online events, and was responsible for displaying speakers participating from overseas on monitors in the venue, as well as filming and distributing video and audio.


We also provide technical support, including taking photographs to record the event and adjusting the acoustics to ensure smooth Q&A sessions with attendees.




Corporate seminars

This was a corporate seminar hosted by the UNHCR Association in September 2024.


The theme was "Does humanitarian aid contribute to corporate value?"


The event was held in Tokyo (at Sophia University) and was attended by corporate representatives and students with a strong interest in the fields of CSR and ESG.


LIFE.14 was in charge of recording the activity footage for this seminar.


We will be producing video footage of the lectures and the venue on the day, which will be filmed and edited.




If you're still worried, outsource the filming and wait until the day of the seminar.

To ensure smooth filming of a seminar, it is important to have a design that does not impair three elements: audio, visibility of slides, and the sense of scale of the entire venue.


In addition, before filming, it is necessary to clarify the purpose of the footage, the scope of what will be recorded, and the balance between the desired quality and operational load. It is also necessary to clarify in advance the scope of secondary use of the speakers' facial expressions and voices, the extent to which participants will be captured, and the ownership of the rights to the footage.


On the day, you can prevent problems by planning the number and location of cameras, lighting plans, and preparations for unexpected situations.


Even after the shoot, it is important to plan ahead, including delivery dates, the scope of corrections required, and how the footage will be used within the company.


Our company, LIFE.14, has over 10 years of experience in the event and video fields.


Our strength lies in our ability to integrate filming, sound, and distribution for corporate events, building a system that allows for consistent decision-making on the day, based on the knowledge we have gained from international conferences and events related to international organizations.


Even when the content of the shoot has not yet been finalized, we will clarify the points of contention and work with you to establish the necessary prerequisites.


We can accommodate a wide range of events, from small to medium-sized closed events, to formats with online distribution, and events involving multiple languages.


Please feel free to contact us first.



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