INSPIRED COACHING
WELCOME TO CAMERA CONFIDENCE!
WEEK ONE
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DAY ONE - BUILDING AN AUTHENTIC RELATIONSHIP WOTH YOUR CAMERA
EXERCISE - VIDEO JOURNAL DAILY Timestamps to help you find what you're looking for: 00:15 - Focus of week one: start private to find the authentically real you 01:16 - Building a relationship with the camera 01:36 - Exercise instructions: video journal 04:08 - Technically speaking truth vs living and embodying truth 05:50 - My experience with the video journal 06:15 - Wrap up / Summary |
Written Summary of Day One:
Week one is all about authenticity. The first step to engaging with your online audience is learning how to be authentic when faced with a camera. Especially if you're filming on your own.
To do that I want you to keep a video journal every day for the next 28 days.
The purpose of this journal is to develop a relationship with the lens. Believe me, after 100 days of video journalling my camera now feels like a cross between my therapist and my best friend.
This exercise was inspired by Morning Pages from the book The Artist's Way by Julia Cameron. I adapted it to help me figure out how to be more real and authentic in front of a camera.
What does that look like?
10 consecutive minutes in front of the camera being as real and intimate as you possibly can be. Don't worry about lights or framing or editing yourself, just get as close to stream of consciousness and embodied honesty as you can. Don't plan it. Film it alone. Don't share it with anyone. This is personal, just like writing in a journal would be. But you do have to press record. It doesn't work otherwise. Also, I want you to watch these back later.
Want to see mine? I did a 100 day challenge in 2017, you can see the videos here: https://www.youtube.com/playlist?list...
Go grab your camera and start Video Journalling!
Week one is all about authenticity. The first step to engaging with your online audience is learning how to be authentic when faced with a camera. Especially if you're filming on your own.
To do that I want you to keep a video journal every day for the next 28 days.
The purpose of this journal is to develop a relationship with the lens. Believe me, after 100 days of video journalling my camera now feels like a cross between my therapist and my best friend.
This exercise was inspired by Morning Pages from the book The Artist's Way by Julia Cameron. I adapted it to help me figure out how to be more real and authentic in front of a camera.
What does that look like?
10 consecutive minutes in front of the camera being as real and intimate as you possibly can be. Don't worry about lights or framing or editing yourself, just get as close to stream of consciousness and embodied honesty as you can. Don't plan it. Film it alone. Don't share it with anyone. This is personal, just like writing in a journal would be. But you do have to press record. It doesn't work otherwise. Also, I want you to watch these back later.
Want to see mine? I did a 100 day challenge in 2017, you can see the videos here: https://www.youtube.com/playlist?list...
Go grab your camera and start Video Journalling!
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DAY TWO - WHO IS YOUR AUDIENCE?
Timestamps to help you find what you're looking for: 00:15 - Casting your imaginary audience member 00:41 - Cast a character to suit your video purpose - video journal 01:48 - Cast a character to suit your video purpose - public videos 02:29 - Client avatar / client profile (ask me if you need help with this) 03:51 - Wrap up / Summary |
Written Summary of Day Two:
Today we're going to get specific about who we're imagining on the other side of the lens.
Each video must have an audience that suits its purpose. When you're imagining who you're speaking to, the more specific you are with your one imaginary audience member, the more real your relationship with your actual audience will be.
In your business you may serve a range of audiences, so take some time now to define each of your target markets. In addition to traits, interests, demographics, and psychographics, I want you to assign a representative to each group. If you can use a real person that you know, this is always better because so much extra information comes with a real person, but if you're stuck you can use someone you feel like you know. For example a character in a tv show, book, or someone you've never met but know a lot about.
Today we're going to get specific about who we're imagining on the other side of the lens.
Each video must have an audience that suits its purpose. When you're imagining who you're speaking to, the more specific you are with your one imaginary audience member, the more real your relationship with your actual audience will be.
In your business you may serve a range of audiences, so take some time now to define each of your target markets. In addition to traits, interests, demographics, and psychographics, I want you to assign a representative to each group. If you can use a real person that you know, this is always better because so much extra information comes with a real person, but if you're stuck you can use someone you feel like you know. For example a character in a tv show, book, or someone you've never met but know a lot about.
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DAY THREE - MAKING EYE CONTACT IN DIRECT-ADDRESS VIDEOS
Timestamps to help you find what you're looking for: 00:15 - When eye contact is and isn't appropriate 00:59 - Spatial considerations 01:24 - Talk THROUGH the camera, not TO the camera 01:40 - direct eye contact, do not look at the viewfinder 02:23 - quick and dirty tricks to help you feel comfortable 03:50 - Wrap up / Summary |
Written Summary of Day Three:
Making eye contact in a direct address video is just as important in video as it is when speaking. Maybe even more so. So how do we make eye contact through space and time?
1. Speak (and look) THROUGH the camera, not TO the camera. Your audience's eyes are about 1 foot behind the lens.
2. Turn viewfinders around so you don't get tempted to make eye contact with yourself. Making eye contact with yourself will feel better for you, but you'll miss the mark for whoever is watching you on video.
3. The further away you (the subject) are from the camera, the easier it is to cheat "eye contact". But always stay as close to the lens as possible. Test distances for yourself.
4. If you're using an "eye contact buddy" get the to stand about where your audience would be (or even further away) with their eyes as close to the lens as possible in your eye-line.
Practice looking through the lens to your imaginary audience every time you make video.
Making eye contact in a direct address video is just as important in video as it is when speaking. Maybe even more so. So how do we make eye contact through space and time?
1. Speak (and look) THROUGH the camera, not TO the camera. Your audience's eyes are about 1 foot behind the lens.
2. Turn viewfinders around so you don't get tempted to make eye contact with yourself. Making eye contact with yourself will feel better for you, but you'll miss the mark for whoever is watching you on video.
3. The further away you (the subject) are from the camera, the easier it is to cheat "eye contact". But always stay as close to the lens as possible. Test distances for yourself.
4. If you're using an "eye contact buddy" get the to stand about where your audience would be (or even further away) with their eyes as close to the lens as possible in your eye-line.
Practice looking through the lens to your imaginary audience every time you make video.
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DAY FOUR - KEEPING IT FRESH / ENERGY MANAGEMENT
Timestamps to help you find what you're looking for: 00:16 - Why energy management is important 01:10 - How rehearsing affects your energy 01:44 - Always rehearse like it's a real take 02:25 - How to approach big chunks of filming 03:40 - Take mini breaks to stay consistent 04:22 - Re-energizing strategies 06:23 - Different videos needs different energy levels 07:18 - Wrap up / Summary |
Written Summary of Day Four:
Keeping it fresh during a long day of shooting is perhaps the hardest thing about this medium. Everything you shoot after you've lost your spark is useless and will need to be reshot.
1. Treat every take like "the" take, even if you're just rehearsing. Be prepared for inspiration to strike even when you least expect it.
2. Always take breaks, whether you feel you need them or not. Take micro breaks to reconnect with yourself between takes and bigger breaks between videos. Also always freshen up when you come back. Lights are hot, don't get wilted.
3. During the mini breaks loosen up so you don't get tired or stiff. Dance. Sing. Wobble. Tell jokes. Make funny faces. Jump up and down. Skip. Use the "fuck it" mantra. Do this often to stay energized and open.
4. If you need consistent energy, do the same warm-up every time to get you to the same place.
The more fun you have, the less you are in your head, the more you are in your body, the better your videos will be. What gets you out of your head and into your body?
Keeping it fresh during a long day of shooting is perhaps the hardest thing about this medium. Everything you shoot after you've lost your spark is useless and will need to be reshot.
1. Treat every take like "the" take, even if you're just rehearsing. Be prepared for inspiration to strike even when you least expect it.
2. Always take breaks, whether you feel you need them or not. Take micro breaks to reconnect with yourself between takes and bigger breaks between videos. Also always freshen up when you come back. Lights are hot, don't get wilted.
3. During the mini breaks loosen up so you don't get tired or stiff. Dance. Sing. Wobble. Tell jokes. Make funny faces. Jump up and down. Skip. Use the "fuck it" mantra. Do this often to stay energized and open.
4. If you need consistent energy, do the same warm-up every time to get you to the same place.
The more fun you have, the less you are in your head, the more you are in your body, the better your videos will be. What gets you out of your head and into your body?
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DAY FIVE - ASSIGNMENT: THE ONE TAKE RANT
Timestamps to help you find what you're looking for: 00:37 - Today's assignment - The One Take Rant 01:02 - ONLY one take, no rehearsal, no retakes, just do it, mistakes and all 01:45 - Make the rant petty - you need to enjoy going big 02:22 - When and how to use "rants" 03:50 - What to do when you make a mistake 05:16 - Wrap up / Summary |
Written Summary of Day Five:
Your assignment will be split over today and tomorrow, but don't worry, they're both short.
Today, you will record a one-take rant. No preparation, no rehearsal, no planning. Just one take.
Rant about something petty. The less important the annoyance is, the easier it will be to enjoy the rant. Let yourself get worked up. The unimportance of the topic should make it easy to let go once the exercise is over.
This exercise is to help you with energy levels but also to encourage your to speak in flow. You can't go back or fix anything so do your best to stay connected and recover when you mess up, the way you would in conversation.
Don't forget to upload your one-take rant to the private Facebook Group before our call on Monday.
If you want an example, I did a one-take rant as part of the abandoned Comfortable on Camera video blog series I mentioned previously. Here it is: https://youtu.be/Hl__5WWzoC0
Your assignment will be split over today and tomorrow, but don't worry, they're both short.
Today, you will record a one-take rant. No preparation, no rehearsal, no planning. Just one take.
Rant about something petty. The less important the annoyance is, the easier it will be to enjoy the rant. Let yourself get worked up. The unimportance of the topic should make it easy to let go once the exercise is over.
This exercise is to help you with energy levels but also to encourage your to speak in flow. You can't go back or fix anything so do your best to stay connected and recover when you mess up, the way you would in conversation.
Don't forget to upload your one-take rant to the private Facebook Group before our call on Monday.
If you want an example, I did a one-take rant as part of the abandoned Comfortable on Camera video blog series I mentioned previously. Here it is: https://youtu.be/Hl__5WWzoC0
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DAY SIX - ASSIGNMENT: YOUR FAVOURITE HOLIDAY
Timestamps to help you find what you're looking for: 00:20 - Today's assignment: one take share your favourite memory 00:50 - Focus on flow, stay connected 01:19 - The benefits of speaking from memory 01:38 - Getting into the zone and an example 02:48 - Wrap up / Summary |
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DAY SEVEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY EIGHT
Timestamps to help you find what you're looking for: 00:15 |
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DAY NINE
Timestamps to help you find what you're looking for: 00:15 |
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DAY TEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY ELEVEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY TWELVE
Timestamps to help you find what you're looking for: 00:15 |
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DAY THIRTEEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY FOURTEEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY FIFTEEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY SIXTEEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY SEVENTEEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY EIGHTEEN
Timestamps to help you find what you're looking for: 00:15 |
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DAY NINETEEN
Timestamps to help you find what you're looking for: 00:15 |
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FILMORA TUTORIAL
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DAY TWENTY
Timestamps to help you find what you're looking for: 00:15 |
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DAY TWENTY-ONE
Timestamps to help you find what you're looking for: 00:15 |
