It’s coming near closing time and the doorbell jingles as someone calls in looking for a picture frame in a big hurry.By Brian McDaidThey are not able to wait to get a frame made to order, so they spot a display frame sitting in the studio which takes their fancy. Advertisement An old black and white photo is removed from it. It’s one of the many old photos that was in this house before it was a photographic studio or picture framing shop, from the days when it was my grandfather’s home.The picture is of his mother Roseanne Coyle who lived up in Listack outside Letterkenny.As I’m fitting the new photo, taping up the back for the waiting customer, the thought passed through my head, I and my great granny worked together for this customer.My great granny’s photo is sitting frameless on my desktop, I decided to post the photo up on social media, complete with her name and where she was from. Advertisement The faded pictured of Rosanne Coyle which made the connection with the past and the present in the journey an sad story of Private John Coyle. Photo Brian McDaid.Sure enough that evening it’s the notification bells on the phone that is now chiming as the likes and comments drifted on to the page.As people that remembered my aunt Bida Deeney remarked the resemblance in the both of them.Messenger Then a private message arrived from one of my Facebook friends, who I didn’t think I recognised telling me that Roseanne Coyle, my great granny, was also her great, great granny through her son John.Growing up visiting my grandfather’s home, William Coyle at the foot of the town, I thought he had only the one brother Charlie that lived in the old home place in Listack. And other than a brass nameplate with “J. COYLE” on it that sat in Listack for years and then ended up in my grandfather’s house after that.The battle scares on the the brass name plate of J. Coyle 3209 who fought in World War 1.Photo Brian McDaid.After my grandfather passed away, I asked my aunt Bida a few times about the nameplate thinking that it belonged to my uncle Johnny.But Bida just said it was my grandfather’s older brother John and that he fought in the war and that was that.Peace Park Around 10 years ago the late Paddy Harte included me in a group that went to Belgium to visit the Peace Park which he built to remember the Irish who fought in the world wars.I was there when families located graves of loved ones for the first time in these far off fields of France and Belgium.Something that was never talked about at home.And when I got home, I tried a few times to research the owner of the brass plate that we had and no one seemed to know anything about.Paddy Harte looking through the letter and names left in the Memorial register at the war memorial. in Belguim. Photo Brian McDaid.Then a simple post on social media this week and the power of one picture and social media made the connection with two separate parts of the same family, who both lived nearby each other for nearly 70 years!Both having the same story to tell of the loss, in very different ways, of the same person over 100 years ago.And either one not knowing that both had searched in their own way for Private J. Coyle who fought in World War 1.Paddy Harte pictured with Cllr. Tony McDaid, Cllr. Padraig Mc Laughlin and Cllr Terence Slowey as they arrive at the Ulster Memorial hall.in Belgium. Photo Brian McDaid.On bank holiday Monday this week, following the posting of the single photo of Rosanne Coyle on Facebook and a few messages and phone calls later, the granddaughter of Private John Coyle, who has travelled the longest journey, called at the home of his late brother William, who once lived at Lower Main St. Letterkenny.Celine Sweeney was welcomed in as she told the difficult story of Private John Coyle.Celine’s grandmother Catherine qualified as a nurse in 1901 and returned to her native Donegal to take up a nursing post at the asylum in Letterkenny for a time.John Coyle was a farmers son who was to emigrate from Donegal to Scotland, first working as a boilermaker’s assistant before enlisting with the army in 1908.Catherine and John may have met in Donegal or in Scotland where both of them worked. In May 1913, Catherine gave birth to a son, John Joseph Coyle.Outbreak of WarThe outbreak of war was announced on August 1914 and John was immobilised that same month and was part of the 1st Battalion of the Irish Guards to go to war at the front in France.In October that year Catherine gave birth to a baby girl at the Western District Hospital, Glasgow, her daughter was christened Roseanne Coyle after John’s Mother back in Donegal.The notice for John Private John Coyle 3209 to head off to the war in 1914. Photo Brian McDaid.Catherine decided to take her two children back home to Donegal in December where her own family helped her to look after them.Her partner, still in France at the front, John’s Battalion took heavy losses, and John sustained a head injury and was taken to hospital in France before being shipped back to the hospital in England and even nearer home to a hospital in Derry.The effects of warIn the war records that Celine gathered on her grandfather, his behaviour, which firstly described John as “a good worker”, changed to that of one who was “absent from his company” on the 13/11/14 to 30/11/14 and speaking improperly to a Sgt.In waiting for 15/11/17 (168 hrs detention), as he was moved from hospital to hospital and even was sent home for s months to recuperate at one stage, he fought in Vivieries and the Battle of Aisne and fought back the Germans to retake a wooded area near the village of Soupir.The Germans tried to counter-attack to seize back the ground but the position was held.Six members of the Irish Guards were killed that day and 25 were injured – John was one of the injured.He received two gunshot wounds one to his right arm and one to his leg.The brass Name plate of John Coyle who fought in World War 1.Photo Brian McDaid.In his medical report along with his injuries, John is described as having Neurasthenia, a medical term not used anymore, but commonly used in World War 1.It describes a mechanical weakness of the nerves, constant headache emotional stress and depression.Yet he still was considered fit enough towards the end of the war to sent him back to the front line in 1917.After which his military records shows was awarded the 1914 star medal and the victory medal.John never came home after the war, his mother Roseanne believed that he may well have died in action, and like his partner Catherine, both heard no word back.Many years after his granddaughter retraced John steps, she was to find out that he changed his next of kin to that of another woman he married in England.Sadly that was also to end in failure for John, who was split up in the 1920s and few were to hear of him after the 1930s.Catherine was only 48 when she died in the early 1930s and John’s mother Rosanne died in the 1940s as did John Joseph, who passed away in 1943 on his 30th birthday.On Monday this week Celine Sweeney, who has travelled the longest journey in putting together this very sad and long judgemental road that her family have travelled, visited the former home of her grandfather’s brother Willie and shared her account with her cousins in a book that she had commissioned on the army history of her grandfather that fought in World War 1.What she didn’t know that day that her grandfather’s brass plate was there waiting for her, a plate that was issued to John Coyle on the 6th of August 1914, the day he was mobilised to go to war and on the 6th of August 2019, she would be given that same his army plate which sat for over 100 years waiting for someone to claim it.Small worldWhile Celine was visiting her grand uncle’s house this week, which now is a photographic studio, and seen a picture of her great grandmother that was posted on Facebook that made the all-important connection this week, she got a pleasant surprise to see another familiar face in another display frame, that of her granddaughter Lauren Anne, who got her first communion photos taken in the studio eight or nine years ago not known then that there was a family connection.Roseanne Coyle picture alongside her great great great granddaughter Lauren Anne in the former home of Willie Coyle which now is a photo studio. Photo Brian McDaid.For years in the studio, her picture has sat side by side with a picture of her great, great, great grandmother Rosanne Coyle of Listack, which Lauren’s great grandmother Roseanne Coyle, Catherine and John’s daughter was called after all them years ago.And which is why the Anne in ‘Lauren Anne’ is called after her great grandmother nearly 100 years on.DD Motoring: Bridging a 100 year gap for a Donegal family was last modified: August 8th, 2019 by Brian McDaidShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window)
Patricia Trudes da Veiga – Brazil (Editor)Patrícia Trudes da Veiga, 47 years old, has been a journalist at Folha de S.Paulo (the best-selling Brazilian newspaper) since 1984, where she currently holds the post of editor of the Sunday supplements, in addition to editor of the Folhinha, the weekly children’s supplement. Since 2005, she has also been the editor responsible for the Social Entrepreneur Award, a partnership established between the Schwab Foundation and Folha de S.Paulo. This year, she is also the editor in charge of launching the Folha’s Promising Social Entrepreneur Award. Patrícia holds a degree in journalism from the Fundação Cásper Líbero, and a specialization degree in the Third Sector from the Fundação Getulio Vargas de S.Paulo (FGV-SP).Nagy Abdel Aziz – Egypt (Deputy Business Editor)Nagy Abdel Aziz writes for the Almasry Alyom Newspaper in Egypt. He’s main focus areas are topics on Energy, industry, stock market, commercial, investment and transport.Pei Guangjiang – China (Correspondent)Chief correspondent, People’s Daily South African Bureau. Graduated from Tsinghua University in 2006, and started career as professional journalist in the International News Department of People’s Daily the same year. Worked in South Africa since February 2009. Responsible for covering all Southern and eastern Africa countries. Have written stories about South African general election and World Cup, AU Summits etc.People’s DailyWith publication started in June 1948 and a current circulation of over 2 million, People’s Daily is among the most influential newspapers in China. People’s Daily brings you the latest major domestic news and international news released from Beijing, China. It reflects the views of the Chinese people, and prints four pages of international news per day as well. Our international news covers from politics, economy to science and technology, culture and tourism.David Smith – UK (Senior Correspondent)David Smith is Africa correspondent of The Guardian newspaper in the UK. Since April 2009 he has reported on news, politics, culture and sport across the continent, with assignments so far including the South African general election, an interview with Zimbabwe Prime Minister Morgan Tsvangirai, the 2010 football World Cup and travels in Botswana, Cameroon, Democratic Republic of Congo, Lesotho, Madagascar, Mozambique, Tanzania and Zambia.David, 35, was born in Salford in the UK and studied at Nailsea School and Leeds University, where he edited Leeds Student newspaper. He went on to join the Daily Express in 1997 and The Observer in 2003, working as a general news reporter and covering the conflicts in Afghanistan and Iraq. He enjoys film and theatre and supports Wolverhampton Wanderers Football Club. His lives with his wife, Andrea, in Johannesburg.Yingni Lu – UK (Correspondent) Professional experience: Experienced in strategy and business development, with a unique skills set that combines a B.Eng in Environmental Engineering from Tsinghua University, an MBA from Imperial College, solid professional experience in cleantech and energy sector in the UK and China. Previously have provided industrial consultancy on Beijing technology need in renewable energy and resources during the period of “11th Five-Year Plan” (2006) and strategic consultancy for one of the business units in EDF Energy (2010). I am currently doing cleantech research at ICUK, evaluating emerging clean technologies in the UK to identify potential candidates to advise and to connect them to both business and financial partners for expansion to China. Yingni Lu is will be coming through as reporter for ReConnect Africa magazine during this trip. Sue Cullinan – Paris (Editor)Sue Cullinan is a writer and editor for The Africa Report magazine, published in Paris by Groupe Jeune Afrique. A journalist for nearly 30 years, Sue has also worked for the Guardian and Time magazine, New York Times Travel and Leisure and NBC News (US). In Paris, Sue covers South African politics and economics for The Africa Report as well as for Africa Confidential in London. Africa Report is planning a special issue on South Africa in March-April 2011.Miriam Mannak – Netherlands (Journalist)Born in The Netherlands and bred in Angola and Rwanda, Miriam Mannak (1977) is a journalist and photographer based in Cape Town. She writes about different topics, including business and finance, health, social development, politics, environmental issues and travel. Besides being the foreign correspondent at the Dutch equivalent to the Financial Times (Het Financieele Dagblad), she is a regular contributor to Leadership Magazine, Black Business Quarterly, Leadership in HIV, I-Net Bridge, both in-flight magazines of Emirates, and other publications. She holds university degrees in Journalism, American Politics and International Development Studies and moved to South Africa in 2004 as part of a Dutch media programme. From September 2004 until April 2005 she worked as a general reporter at the Cape Times. After realising how much South Africa had to offer, she decided to stay and to make South Africa her home. In 2009, she was awarded a fellowship by the International Aids Society (AIS) and the National Press Foundation in Washington, the US.Currently, Miriam is the Vice Chair of the Western Cape branch of the Southern African Freelancers’ Association (Safrea); South Africa’s main platform for freelance media professionals.Evgenia Pertzova – Russia (correspondent)Evgenia is graduated from Moscow State University on Journalist department. She has been working as a journalists for more then 5 years. She used to work for online business portal before she joined RBC media group. Her main specialization is food retal + b-2-b communications.Alex Kokcharov – Russia (Correspondent)Born in 1976 in Belarus. Alex studied Geography and Economics at the universities in Minsk (Belarus), Bochum (Germany), Moscow (Russia) and Oxford (UK). Started a career in business journalism during his student years and joined Expert in 1998. Since 2003 he is the London Correspondent of Expert magazine. Alex covers primarily business, finance, economy and energy – authored over 300 feature stories, primarily with international focus (including several on Africa). In January 2008 he was awarded a prize by the Russian Media Union for the best business story in the Russian media in 2007 for a story on the competition between financial centres of London and NYC.Evgeny Pavelko – Russia (Correspondent) ROSSIYSKAYA GAZETADaily newspaper of the Russian Government, nationwide,circulation 200000 copies a dayEvgeny Pavelko, born 21.12.1957.Executive Director on International Projects and Advertising.Since 1983 worked like as a correspondent of RIA Novosti agency, Moscow news weekly, creative director of advertising IMA-press agency, editor of international department Izvestia daily newspaper. Working foreign languages – French, English.Specialized on international policy and economy, responsible for foreign supplements and pages in the daily newspaper of the Russian Government – “Rossiyskaya Gazeta”Andreev Alexey – Russia (Editor)Starting from 1996 – writer for “”Asia and Africa today”1997-2003 -worked at Independent Newspaper as international politics observer 2005 – Editor of the foreign policy in New Izvestia newspaper, KOL for BBC (radio) in Asia and Africa.James Lawrence – UK Lifestyle journalistJames Lawrence is a freelance lifestyle journalist and self confessed wine, travel and food obsessive, passionate about discovering and promoting the lesser known wines and wine regions of the world. He is a frequent contributor to decanter.com, Harpers Wine and Spirits, The Guardian online, QS magazine and runs an interactive, community led wine forum, thewineremedy.com.James also co-owns a media production company, called Wine Spotlight. A major project for them next year will be to produce a film, or mini-documentary celebrating South African tourism and culture through its wine industry. He is very excited about his first trip to South Africa, hopefully the first of many.
Performance art in South Africa is burgeoning.(Image: African Creative Economy Conference)MEDIA CONTACTS • Kim Peters Congress Secretariat+27 21 674 0013.• Judy Bryant Media Liaison, Judy Bryant Communications+27 83 286 7168.Lorraine KearneyThe creative industries are among the most rapidly expanding sectors across the globe. According to the United Nation’s (UN) Conference on Trade and Development (Unctad), the sector has a growth rate of 13.9% in Africa, beaten only by the Middle East, where the rate is 17.6%. By contrast, North and Central America post a growth rate of just 4.3%.And in 2011, the world export of creative goods reached $441-billion (R4405-billion). These figures were bandied about at the African Creative Economy Conference (ACEC), being held at the Cape Town City Hall from 7 to 10 October. The second day of the conference was given over to discussions on culture and sustainable development, with particular reference to the Millennium Development Goals and the Post-2015 Development Framework.The ACEC intention is to unlock the continent’s creative industries’ potential and leapfrog into emerging high-growth sectors of the world economy, say the organisers. Africa’s share of the global creative economy is currently less than 1%, and in 2011 its arts exports was just $2.2-billion (R219-billion). North Africa has the best performance in terms of exports, led by Egypt, followed by southern Africa, led by South Africa. These exports are predominantly design, followed by arts and crafts, and publishing.“Culture has huge potential for growth and jobs,” said Nils Jansons, the deputy head of the European Union (EU) delegation to South Africa. “It is the beginning and end of development. It is important to social fabric and it enhances self-esteem, improves dialogue and a sense of community and belonging. It helps fight fanaticism and xenophobia.”It could contribute, he emphasised, to poverty reduction. The EU promoted the conservation of cultural diversity and had earmarked $200-million (R2-billion) for arts and freedom of expression in Africa. In South Africa, in particular, it was working on research with Arterial Network on gathering data on trade in cultural goods and services.Millennium Development GoalsThe euro zone promoted culture as a contributor to achieving the Millennium Development Goals, and in the post-2015 framework it wanted to include culture as necessary for good governance and building growing, inclusive and sustainable societies.Carolina Quintana, the networking and partnerships officer at Unctad, pointed out that post-2015 the world needed a new people – and a planet-sensitive agenda. “We must design new products, adapt what exists, improve eco-efficiencies. The creative industries are well-placed to be a part of this as some of the most dynamic sectors in the global economy.”The United Nation’s Conference on Trade and Development was actively promoting the creative economy, particularly in Africa, as it had high levels of talent and creativity that could be tapped for economic growth, poverty reduction, economic diversity and job creation. Driving this growth were global demand, technology and tourism. However, Quintana and several other speakers pointed out that a crucial element for the creative economy to flourish was the protection of intellectual property rights.Also key to driving the creative economy were intellectual property rights and technology, and the protection and promotion of cultural diversity, said Rochelle Roca Hachem, a programme officer in the section on the diversity of cultural expressions at Unesco, the UN Educational, Scientific and Cultural Organization, which had seven internationally binding cultural agreements. The most important of these was the 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions. There were 172 parties to this, 70% of which were in Africa.Promoting growthThe UN Educational, Scientific and Cultural Organization had two tracks for promoting the creative economy worldwide: funding and technical assistance, which included a ‘train the trainer’ programme, through which 32 people from 25 African countries were being trained and will help their own and other countries with policy development.Its International Fund for Cultural Diversity had 61 beneficiaries in 40 developing countries to bring change through capacity building, business models, partnership and policy development. The organisation’s goals were to strengthen governance for culture in developing countries and establish legal and institutional frameworks and policies for national cultural sectors.The third Unesco creative economy report, Widening Development Pathways, would be published on 14 November in Paris. It would focus on the creative economy at a local level, specifically in developing nations, and at how the creative economy could be practically promoted on the ground.In addition to money, the creative industries promote diversity, esteem, community, social cohesion, identity, individuality and the possibility for exchange. But the obstacles to its growth include lack of capital, entrepreneurial skills and infrastructure.Voice of dissent“The African creative economy does not exist,” said Christiaan de Beukelaer, a PhD researcher from the United Kingdom’s University of Leeds. “This is not because there is no cultural production, but because there is no conceptual clarity.” De Beukelaer’s research focuses primarily on the role of culture and cultural industries in international development. He has spent the past eight months in West Africa researching in the field.There was universal agreement on the growth potential of the creative economy, but some dissent on the necessary preconditions to drive it in Africa. De Beukelaer said it was difficult to create a cultural capital. Cities that had traditionally been strong in the sector retained these positions. “If there was consensus on what these preconditions were, we would be implementing them, not talking about them,” he said.For Jansons, it was more an issue of access to financial resources and the right, flexible education. Hachem echoed his words, speaking about the importance of arts education, access to finance, and better infrastructure. “But in Africa, there are such vast differences between places that there is not one single answer.”Links with science, technology and innovation were crucial. Culture was the source of creativity and innovation, she said. Quintana added that the creative economy was a process in the making. Africa had assets in terms of high levels of talent and creativity. It needed to harness technology to get this to a wider market. In its favour was its young population: young people would be more influenced by technology and so were important in developing a creative economy on the continent.The conferenceThe ACEC brings together some of the continent’s leading thinkers, academics, cultural producers, and experts in music, dance, theatre, visual arts, heritage and museums, design, fashion, craft, festivals and cultural events, film, literature, and stand-up comedy. It also attracts entrepreneurs, politicians and funders whose interests lie in expanding the creative economies across the continent. The conference focuses on the creative industries not just as economic drivers, but also considers how the creative sectors can eradicate poverty. The conference takes place each year in a different city. In 2013, more than 300 delegates from about 40 countries participated in Cape Town, South Africa.
Image via Shutterstock.Brainstorming an idea for your client’s how-to video can be a lot of fun. When you sit down to discuss this with your client, bring a list of potential ideas to the table. Click here for a list of 41 Awesome Ideas for How-to Videos.Step 3: Learn the How-To Process Yourself and Write It DownAt this point, you and your client have decided on a topic (or perhaps several) for a how-to video. The next step is to create a process document that includes step-by-step instructions on “how to do X.” Think of this as a written guide for how to complete the process. A novice should be able to follow the steps and successfully complete the process.Video via My New Roots.Take the preceding video, “How to Make Nut Milk,” for example.Step 1: Pick a Nut. Here’s a list of commonly used nuts:AlmondsMacadamiaBrazilCashewsPecansSesame SeedsHemp Seeds Image via Shutterstock.Before approaching your client about producing a how-to video, take a moment to evaluate whether or not they will benefit from it. The size of the business and the industry doesn’t matter, but things like target market and social media activity do. For example, consider the following client scenarios. Which company would benefit most from a targeted, engaging how-to video?Client #1: ACME Plywood CompanyTarget market: wholesale lumber distributorsSocial media/web presence: no social media presence, dated website shares only company contact information How-To videos are in demand. Learn how to secure clients and take advantage of this growing medium.Top image via Seth Doyle.The how-to video is changing the landscape of online video, and we, as filmmakers, no longer have to limit ourselves to old-school 30-second television ads. Since 2014, searches related to “how to” content on YouTube grew 70% year-over-year.Social media platforms like YouTube, Instagram, and Facebook have opened the doors to new and engaging types of content — content that builds relationships with our clients (and our client’s clients) and offers true value to our customers.Image via Google.Endlessly engaging and effective at generating and nurturing leads, how-to videos are cheap to produce and offer immense value to our corporate video clients and their customers. Companies like Columbia, Starbucks, and Google are producing value-laden, branded how-to videos for their customers in return for brand loyalty and higher marketing ROIs.In this post, I’ll walk you through my process for producing a value-laden and entertaining how-to video for your corporate video client (with tips, techniques, and a few free pdfs along the way).Let’s dive right in.The Three Types of How-To Videos (and When to Use Them)The EntertainerVideo via Carmel Gatchalian.The Entertainer is a top-level video marketing tool. It’s most effective during the interest-building phase of your client’s sales funnel (e.g. “I really enjoyed that video! I’m going to visit the company’s website to learn more”).Done effectively, the how-to video entertains your audience while also showcasing company culture. Rack up a bunch of views and shares by uploading these to your client’s social media pages.The TeacherVideo via Huckberry.The Teacher is most effective during the learning phase of your client’s sales funnel, and many companies (like Columbia) will offer entire how-to video libraries that cover concepts related to their products.The teacher can describe a process, a simple task, or even more theoretical subjects. Vimeo’s Video School offers several how-to videos related to film production that take this approach.The Process(er)Video via KORDUROY.The Process(er) does exactly what you might think. It walks your audience through a step-by-step process. It’s most effective at educating your client’s target market on subjects that relate to the client’s products or services. Of the three types of how-to videos, the process(er) offers the most tangible value to the viewer (e.g. “I didn’t know how to do X. Now I know how to do X.”)This guide will focus on how to create this type of how-to video.So, let’s get to it.Step 1: Determine If Your Video Client Will Benefit Step 5: Acquire Props and Find a Suitable Location and Onscreen Talent Step 4: Use the How-To Process Document to Create a Shot List Image via Shutterstock.Use your how-to process document and shot list as a guide during post-production. To simplify the editing process, you could slate each shot using the following slate structure:Line 1: Title of production (e.g. How to Make Nutmilk).Line 2: Step of the process (e.g. Step 8: Pour the milk into the jug).Line 3: Take # (e.g. Take 1, take 2, take 3, etc.).Add onscreen text to highlight the critical points of the how-to process. Rule of thumb: less is more. Remember that many viewers will be watching this on their mobile devices, so be sure to account for that by increasing the font size and testing a draft on your mobile phone.Add music to create a complete viewing experience. Keep your target audience in mind — what might they find entertaining? Your music should match the tone and quality of your footage.Step 8: Deliver the Finished Product to Your Client and Wrap the ProjectHere are the export settings that I use for delivering most of my how-to videos:Codec: H.264Resolution: 1920 x 1080VBR, 2 passTarget Bitrate: 12Render at maximum depthRender at maximum qualityOnce you and your client are pleased with the final result, export a master copy and provide them a final as well. Have a brief meeting to discuss what platforms you’d like to use to share the video.That’s it. How-to videos are a new and often untapped medium that businesses can take advantage of to stand out. Give your own production company or freelance video business an edge by offering this service to your clients.Do you have tips for producing how-to videos? Let us know in the comments. Step 2: Measure out 1 cup of nuts/seeds.Step 3: Cover with water.Step 4: Soak for 8 hours.Step 5: Drain and rinse.Step 6: Add to a blender and add 4 cups of water. Blend.Step 7: Line a jug with a nut milk bag or cheesecloth.Step 8: Pour the milk into the jug.Step 9: Squeeze the milk from the cheesecloth.Step 10: Pour into a clean bottle and cap the lid. Refrigerate for 3-4 days. Client #2: Jill’s Collegetown Coffee CafeTarget market: all ages, with an emphasis on nearby 18-30 year-old college studentsSocial media/web presence: 2-3 posts/week on Instagram and Facebook, sleek website that is mobile responsive Image via Shutterstock.After you develop your shot list, it’s important to get started right away.Begin pulling together the three elements you’ll need to complete your shoot. Other than your equipment, you’ll need the following:Props are the items your viewer needs to complete the process. If the how-to process requires specific tools, ingredients, or implements, add a sequence to your shot list that highlights each tool or prop, as you can see here in How to Make a Mint Julep.Your filming location depends on the subject of your how-to video. If the location is crucial to the completion of your process, it could limit your options. For instance, if you’re filming a video on How-To Check Your Tire Pressure, or if your client wants a video on How to Pack the Car for a Camping Trip, your location will require access to a vehicle (e.g. garage, driveway, parking lot, etc.).The Talent is the person carrying out the action on camera. You’ll need to find someone — a friend, relative, your client (or even yourself) — to provide instruction in your how-to video. Image via Shutterstock.After you’ve documented the how-to process, you’ll need to create a shot list that illustrates the primary action of each step. This is the difference between telling the audience how to do something, and showing them how to do it.Click here for the shot list for “How to Make Nut Milk.” A few rules to follow when creating a shot list for a how-to video:Focus on the action (the subject should take up 60-80% of the screen area).Film in a well-lit area (natural light through nearby windows will work 90% of the time).Vary your shots between overheads, close-ups, and medium shots. The rule of thumb here is to get close to the action.(Optional) Integrate your Text Overlays into your shot list to save time in post-production. Most how-to videos include onscreen text that helps the viewer understand the process. However, in some cases onscreen text may not be necessary. Step 6: Start Filming As Soon As Possible — Use Your Shot List As a Guide Image via Shutterstock.Your equipment kit should be light — there’s no need for huge studio lights, for example. Ninety percent of my how-to content uses natural light, and the other ten percent uses a single LED.At a minimum, your equipment kit should include the following:A camera and power sourceZoom lens (my Canon 24-70mm works great)TripodExternal monitorLED light or reflector with stands and sandbagsUse this Production Checklist to make sure you’re ready to go.Set up each shot and film according to your shot list. Keep a notepad and pencil nearby to jot down your favorite takes. Backup your footage, and begin post-production.Step 7: Edit Your How-To Video According to Your How-To Process Document In this example, Client #2 would benefit more from a how-to video than Client #1, due to Client #2’s active social media and web presence. Any client who actively promotes their brand on social media platforms is a good candidate for a how-to video.Furthermore, how-to content works best as a complement to existing and well-defined sales funnels. In their market research with Oracle Marketing Cloud, Vidyard — a video marketing company — found that best-in companies engage their clients with video throughout their entire sales funnel. This approach to video marketing mimics in-person interaction and guides a potential buyer through the purchasing experience.Step 2: Brainstorm How-To Ideas with Your Client’s Target Market in Mind