On-Camera Coach

1 - On-Camera Coach [Seite 3]
2 - Wiley & SAS Business Series [Seite 4]
3 - Contents [Seite 11]
4 - Preface [Seite 19]
5 - Acknowledgments [Seite 21]
6 - Section One The Inescapable Reality-We All Have to Communicate through a Camera [Seite 25]
6.1 - Chapter 1 Why You Need to Read This Book [Seite 27]
6.1.1 - The Power and Pervasiveness of Video [Seite 29]
6.1.2 - The Decline of the Professional Spokesperson [Seite 30]
6.1.3 - The Global Communication Tool of Choice [Seite 31]
6.1.4 - Hiring by Skype [Seite 32]
6.1.5 - The Perils of Video [Seite 33]
6.1.6 - How Reading This Book Can Improve Your On-Camera Performance [Seite 33]
6.1.6.1 - What You Will Need [Seite 34]
6.1.6.2 - Topics to Be Discussed [Seite 34]
6.1.7 - Chapter Takeaways [Seite 35]
6.1.8 - Notes [Seite 35]
6.2 - Chapter 2 Why the Camera Changes Everything [Seite 37]
6.2.1 - My "Aha!" Moment [Seite 40]
6.2.2 - A Camera Changes Everything [Seite 41]
6.2.2.1 - No Immediate Feedback [Seite 41]
6.2.2.2 - Your Own Worst Critic [Seite 42]
6.2.2.3 - Recorded for Posterity [Seite 43]
6.2.2.4 - Unfamiliar Territory [Seite 44]
6.2.3 - The Archenemy of Performance Success: You [Seite 45]
6.2.4 - The Key to On-Camera Success: Authenticity [Seite 46]
6.2.5 - ChapterTakeaways [Seite 48]
7 - Section Two The MVPs of Performance Success [Seite 49]
7.1 - Chapter 3 M-Mental Mind-set: The Prep before the Performance [Seite 51]
7.1.1 - Reaching the Real Audience [Seite 52]
7.1.1.1 - Visualize the Viewer [Seite 53]
7.1.1.2 - Video Chat: Now You See Me, Now You Don't [Seite 54]
7.1.1.3 - Embrace Your Nervousness [Seite 56]
7.1.1.3.1 - Passion Play [Seite 57]
7.1.1.3.2 - Beware of Brain Cramps [Seite 57]
7.1.2 - The Bottom Line: It's Not about You [Seite 59]
7.1.3 - Chapter Takeaways [Seite 62]
7.1.4 - Note [Seite 63]
7.2 - Chapter 4 V-Vocal Variety: Pacing and Pausing with Purpose [Seite 65]
7.2.1 - TheMusicality of Your Delivery-What's Your Range? [Seite 66]
7.2.1.1 - What Is Vocal Variety? [Seite 66]
7.2.1.2 - Natural versus On-Camera Inflection [Seite 67]
7.2.2 - Setting Your Pace with the Viewer in Mind [Seite 68]
7.2.3 - Finishing Your Thoughts [Seite 69]
7.2.4 - Using the Power of the Pause [Seite 69]
7.2.4.1 - Pause for You [Seite 69]
7.2.4.2 - Filler Words as Placeholders [Seite 71]
7.2.4.3 - Pause for Them [Seite 71]
7.2.5 - The Lowdown on Uptalk [Seite 69]
7.2.5.1 - The Most CommonUptalk Trouble Spot [Seite 74]
7.2.6 - Chapter Takeaways [Seite 69]
7.2.7 - Note [Seite 69]
7.3 - Chapter 5 P-Physical Factors: On-Camera Movement with Meaning [Seite 79]
7.3.1 - On-Camera Gesturing: An Out-of-Body Experience [Seite 80]
7.3.2 - Getting Familiar with Frame Size [Seite 82]
7.3.2.1 - Gestures for a Tight Shot [Seite 82]
7.3.2.2 - Gestures for a Medium Shot [Seite 82]
7.3.2.3 - Gestures for a Wide Shot [Seite 83]
7.3.2.4 - Gestures as a Retention Tool [Seite 84]
7.3.3 - The Role of Off-Camera Movement [Seite 85]
7.3.4 - Posture Pointers [Seite 85]
7.3.4.1 - Standing While on Camera [Seite 86]
7.3.4.1.1 - The Metronome Effect [Seite 86]
7.3.4.1.2 - Going for a Walk [Seite 86]
7.3.4.2 - Sitting While on Camera [Seite 87]
7.3.4.2.1 - Crossed Legs [Seite 88]
7.3.4.2.2 - Leaning In or Out [Seite 88]
7.3.4.2.3 - Step In to Start [Seite 89]
7.3.5 - Making Eye Contact When You Can't See Your Audience [Seite 90]
7.3.5.1 - Look Away [Seite 90]
7.3.5.2 - Performance Pitfalls: Eye Contact Errors [Seite 91]
7.3.5.3 - Vary Your Angle [Seite 92]
7.3.5.4 - Look Up [Seite 92]
7.3.6 - Chapter Takeaways [Seite 96]
7.3.7 - Notes [Seite 96]
8 - Section Three Ready to Wear . . . or Not [Seite 97]
8.1 - Chapter 6 Looking the Part-Wardrobe 101 [Seite 99]
8.1.1 - Match Audience Expectations [Seite 101]
8.1.2 - Boring Is Best [Seite 102]
8.1.3 - Spin the Color Wheel [Seite 102]
8.1.3.1 - Special Consideration: Green-Screen Shoots [Seite 103]
8.1.3.2 - Solids: A Solid Choice [Seite 104]
8.1.4 - Putting on the Pounds [Seite 106]
8.1.5 - Dress Right for the Mic [Seite 106]
8.1.5.1 - Pack Placement [Seite 107]
8.1.5.2 - Microphone Placement [Seite 107]
8.1.5.3 - Jewelry Jukebox and Light Show [Seite 108]
8.1.6 - Your Fifth Appendage: A Smartphone [Seite 109]
8.1.7 - Additional Considerations for Men [Seite 109]
8.1.7.1 - Sock Style [Seite 110]
8.1.7.2 - The Uniform Look [Seite 111]
8.1.7.3 - To Button or Not to Button? [Seite 111]
8.1.8 - Chapter Takeaways [Seite 112]
8.1.9 - Notes [Seite 112]
8.2 - Chapter7 Hair and Makeup [Seite 113]
8.2.1 - Hair Hassles [Seite 115]
8.2.2 - On-Camera Makeup Musts for Women [Seite 116]
8.2.3 - What You Need in Your Kit [Seite 117]
8.2.3.1 - Moisturizer [Seite 117]
8.2.3.2 - Foundation [Seite 117]
8.2.3.3 - Powder [Seite 118]
8.2.3.4 - Eye Makeup [Seite 118]
8.2.3.5 - Cheeks [Seite 118]
8.2.3.6 - Lip Color [Seite 119]
8.2.4 - Makeup for Men [Seite 119]
8.2.5 - Glasses or No Glasses [Seite 120]
8.2.6 - Chapter Takeaways [Seite 121]
9 - Section Four Best Practices for Creating Your On-Camera Message [Seite 123]
9.1 - Chapter 8 Organizing for the Ear [Seite 125]
9.1.1 - The Rule of Three [Seite 126]
9.1.1.1 - Applying the Rule of Three On Camera [Seite 127]
9.1.1.1.1 - Rule of Three via Skype [Seite 128]
9.1.1.1.2 - Your Core Message [Seite 129]
9.1.1.2 - The Rule of Three Expanded [Seite 130]
9.1.2 - Repetition, Repetition, Repetition [Seite 131]
9.1.3 - Chapter Takeaways [Seite 132]
9.1.4 - Note [Seite 132]
9.2 - Chapter 9 Writing for the Spoken Word [Seite 133]
9.2.1 - The Challenges of Reading Written Prose Aloud [Seite 134]
9.2.2 - Why the Whisper Test Won't Work [Seite 135]
9.2.3 - Writing Tip 1: Keep It Short [Seite 135]
9.2.4 - Writing Tip 2: Don't Fear the Grammar Police [Seite 136]
9.2.5 - Writing Tip 3: See Spot . . . Be Bored [Seite 137]
9.2.6 - Exercises for Writing the Way You Speak [Seite 137]
9.2.7 - Chapter Takeaways [Seite 140]
9.2.8 - Note [Seite 141]
10 - Section five How to Read without Sounding Like You Are [Seite 143]
10.1 - Chapter 10 Marking Your Script [Seite 145]
10.1.1 - Step One: Smooth Out the Script [Seite 147]
10.1.2 - Step Two: Add Phonetics Where Appropriate [Seite 147]
10.1.3 - Step Three: Mark with Meaning [Seite 149]
10.1.3.1 - New vs. Old [Seite 150]
10.1.3.2 - The Name Stress Principle [Seite 152]
10.1.3.3 - How to Mark Your Copy for Emphasis [Seite 153]
10.1.3.4 - Emphasis Obstacles [Seite 154]
10.1.3.4.1 - Beware of Connotations [Seite 154]
10.1.3.4.2 - Too Much Stress [Seite 155]
10.1.4 - Step Four: Place Your Pauses [Seite 155]
10.1.4.1 - The Short Pause [Seite 156]
10.1.4.2 - The Power Pause [Seite 156]
10.1.4.3 - Marking Your Pauses [Seite 158]
10.1.4.4 - Pause Practice Example [Seite 158]
10.1.4.5 - Pause Pitfalls [Seite 159]
10.1.4.6 - It All Comes Down to This . . . [Seite 160]
10.1.5 - Chapter Takeaways [Seite 161]
10.1.6 - Script Marking Exercises AnswerKey [Seite 162]
10.1.7 - Notes [Seite 164]
10.2 - Chapter 11 Tackling theTeleprompter [Seite 165]
10.2.1 - Lessons Learned from Michael Bay's Implosion [Seite 167]
10.2.1.1 - Lesson 1: Know Your Content [Seite 167]
10.2.1.2 - Lesson 2: Know Your Script [Seite 167]
10.2.1.3 - Lesson 3: Stay in the Moment [Seite 168]
10.2.2 - Teleprompter-Friendly Copy: Best Practices [Seite 168]
10.2.2.1 - Read Your Script in the Prompterbefore Your Performance [Seite 169]
10.2.2.2 - Effective Visual Cues in Teleprompter Copy [Seite 170]
10.2.2.2.1 - Options for Marking Emphasis [Seite 170]
10.2.2.2.2 - Options for Marking Pauses [Seite 171]
10.2.2.3 - Visual Cues Are Guides, Not Absolutes [Seite 173]
10.2.3 - The Role of the TeleprompterOperator [Seite 173]
10.2.3.1 - A Second Set of Eyes [Seite 174]
10.2.3.2 - Adjusting Font Size [Seite 174]
10.2.3.3 - Following the Leader [Seite 174]
10.2.3.4 - Editing on the Fly [Seite 175]
10.2.3.5 - No Mind Reading [Seite 175]
10.2.3.6 - Adjusting the Read Line [Seite 176]
10.2.4 - Prompter Practice Made Possible [Seite 176]
10.2.4.1 - The Proliferation of PrompterSoftware [Seite 177]
10.2.4.2 - Control the Scroll [Seite 177]
10.2.4.3 - Watch Yourself [Seite 178]
10.2.5 - Lost in the Teleprompter [Seite 178]
10.2.6 - Chapter Takeaways [Seite 179]
10.2.7 - Note [Seite 179]
11 - Section Six The Most Common On-Camera Performance Scenarios [Seite 181]
11.1 - Chapter 12 Presenting Directly to the Camera in a StudioSetting [Seite 183]
11.1.1 - Considerations for Corporate Video [Seite 185]
11.1.1.1 - A Lesson from TV News [Seite 185]
11.1.1.2 - Does Length Matter? [Seite 186]
11.1.1.3 - How Much Face Time Is Too Much? [Seite 187]
11.1.2 - Preparing for the Shoot [Seite 188]
11.1.2.1 - Creating Your Content [Seite 188]
11.1.2.1.1 - Identifying Your Viewer [Seite 188]
11.1.2.1.2 - Writing the Way You Speak [Seite 189]
11.1.2.1.3 - Marking for Meaning [Seite 189]
11.1.2.2 - Practice, Practice, Practice [Seite 190]
11.1.2.3 - Looking the Part [Seite 191]
11.1.2.3.1 - Microphone Matters [Seite 191]
11.1.2.3.2 - Hair Issues [Seite 192]
11.1.2.4 - Getting Rid of Your Fifth Appendage [Seite 192]
11.1.3 - Orienting Yourself to the Studio [Seite 193]
11.1.3.1 - Meet the Crew [Seite 193]
11.1.3.1.1 - The Floor Director [Seite 193]
11.1.3.1.2 - The Audio Technician [Seite 194]
11.1.3.1.3 - The Camera Operator [Seite 194]
11.1.3.1.4 - The Teleprompter Operator [Seite 195]
11.1.3.1.5 - The Crew's Mission [Seite 195]
11.1.3.2 - Give Yourself the Once-Over [Seite 196]
11.1.3.3 - Getting Familiar with Your Performance Space [Seite 196]
11.1.3.4 - The Crew's Final Prep [Seite 197]
11.1.4 - Pulling Off a Great Performance [Seite 197]
11.1.4.1 - Stay Focused Despite Distractions [Seite 198]
11.1.4.2 - The Most Dangerous Part of Your Performance [Seite 200]
11.1.4.2.1 - The Runaway Train Ramble [Seite 200]
11.1.4.2.2 - Mentally Moving On [Seite 200]
11.1.4.2.3 - Stopping the Performance before the Real End [Seite 201]
11.1.5 - Reviewing Your Performance [Seite 202]
11.1.6 - Chapter Takeaways [Seite 202]
11.2 - Chapter 13 Videoconferencing and Interviews via VideoChat [Seite 205]
11.2.1 - Changes in Where and How You Work [Seite 206]
11.2.2 - Hiring by Skype [Seite 208]
11.2.2.1 - Travel Cost Savings [Seite 209]
11.2.2.2 - Fewer Scheduling Headaches [Seite 209]
11.2.3 - Why You Want to Turn on Your Webcam [Seite 210]
11.2.4 - Best Practices for VC [Seite 211]
11.2.4.1 - Technical Considerations [Seite 211]
11.2.4.2 - Setting Considerations [Seite 213]
11.2.4.3 - Performance Considerations [Seite 215]
11.2.5 - Recording a Videoconference [Seite 217]
11.2.6 - Chapter Takeaways [Seite 221]
11.2.7 - Notes [Seite 222]
11.3 - Chapter 14 Webcasts-Best Practices for Panelists and Moderators [Seite 223]
11.3.1 - Why a Webcast Is Easier to Master [Seite 224]
11.3.2 - Best Practices for Panelists [Seite 226]
11.3.2.1 - Prepare Your Points [Seite 226]
11.3.2.2 - Plan Your Wardrobe [Seite 227]
11.3.2.3 - Take Advantage of Rehearsal Time [Seite 227]
11.3.2.4 - Focus on the Action [Seite 228]
11.3.2.5 - Where You Should Look [Seite 229]
11.3.2.5.1 - When Someone Asks You a Question [Seite 229]
11.3.2.5.2 - When Presenting Uninterrupted to Viewers [Seite 229]
11.3.2.5.3 - When Others Are Speaking [Seite 230]
11.3.2.6 - Opting Out of Using a Teleprompter [Seite 231]
11.3.2.7 - Handling the Unexpected Question [Seite 232]
11.3.3 - Best Practices for Moderators [Seite 232]
11.3.3.1 - Directing the Conversation [Seite 233]
11.3.3.2 - Preparing to Be a Moderator [Seite 233]
11.3.3.3 - Encouraging the Conversation [Seite 234]
11.3.3.4 - Being the Ultimate Editor [Seite 235]
11.3.4 - Staying Hydrated [Seite 236]
11.3.5 - Chapter Takeaways [Seite 237]
11.3.6 - Notes [Seite 237]
11.4 - Chapter 15 Broadcast Interview Basics [Seite 239]
11.4.1 - Before the TV Interview [Seite 240]
11.4.1.1 - Find Out the Focus [Seite 241]
11.4.1.2 - Simplify Your Talking Points [Seite 242]
11.4.1.3 - Seek to Speak in Sound Bites [Seite 243]
11.4.1.4 - Practice with a Peer [Seite 243]
11.4.2 - During the TV Interview [Seite 244]
11.4.2.1 - Establishing a Friendly Rapport [Seite 244]
11.4.2.2 - Checking Yourself in the Mirror [Seite 244]
11.4.2.3 - Realizing When the Camera Is On [Seite 245]
11.4.2.4 - Orally Editing Your Sound Bite [Seite 245]
11.4.2.5 - Controlling the Controllables [Seite 246]
11.4.2.5.1 - Pause to Ponder [Seite 246]
11.4.2.5.2 - Press Your Own Reset Button [Seite 246]
11.4.2.5.3 - Keep Your Cool [Seite 247]
11.4.2.5.4 - Answer Every Question as Best You Can [Seite 247]
11.4.3 - After the TV Interview [Seite 248]
11.4.4 - Interviews by Satellite [Seite 249]
11.4.4.1 - Introducing the IFB [Seite 250]
11.4.4.2 - Managing the Monitor [Seite 250]
11.4.4.3 - Waiting for the All-Clear [Seite 251]
11.4.5 - Chapter Takeaways [Seite 253]
11.4.6 - Notes [Seite 254]
12 - Conclusion: Embrace Communicating through theCamera [Seite 255]
13 - About the Author [Seite 257]
14 - Index [Seite 259]
15 - EULA [Seite 266]