A lot goes into being on camera, so whether you're center stage or working from behind the lens, remember that this process is tough—some might even say, unnatural. Being on camera gets easier over time, so keep practicing, have fun, and try to stay natural!

Dan Mills

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Head of Wistia Studios

Dave Mizzoni

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Actor & Producer 

Brooke Van Poppelen

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Comic, Writer, Actor

Elena Besser

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Trained Chef & TV Host

Adam Lisagor & Claude Zeins

Nametag adam and claude@2x

Sandwich

Chris Savage

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Co-Founder

Jeff Ayers

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Digital Media & Broadcasting Manager

Chris Lavigne

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Head of Production

Mykim Dang

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Executive Video Producer

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The Camera-Ready Checklist

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The Wistia Guide to Being on Camera

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Deleted Scenes

On Camera


NARRATOR: There are two sides to the camera, in front of the lens and behind it. And whether you're on camera or you're directing talent, you've got a pretty tough job. So we're going to talk to some experts from both sides of the camera to help you get the best performances for your show.

DAN MILLS: If you're making a show there's a good chance you might end up on camera, like me right now.

NARRATOR: This is Dan, Head of the Wistia Studios and occasional actor.

DAN MILLS: I've been known to dabble. You might host a game show or have a podcast where you conduct interviews. The key is, just be yourself. I know it sounds cheesy, but if you're not an actor, don't act. Be yourself.

DAVE MIZZONI: People are tuning in for you. People want to hear your voice, your take, and your natural response to things.

NARRATOR: Here's actor and producer Dave Mizzoni.

DAVE MIZZONI: It's why we love Oprah. It's why we love Gayle. It's why we love Dr. Oz. They are themselves. OK, well, now it sounds like I only watch Oprah.

[LAUGHS]

That was all going on inside my head. See that's the fear of being on camera, is what you say being used against you. So don't do it, editor watching this.

NARRATOR: It's true. There's a show out there that features every type of personality. When you're true to yourself, your fans will pick up on your good vibes and want to come back for more. Of course, being prepared also helps.

BROOKE VAN POPPELEN: If you're going to be on camera, be prepared. Seriously, get your [BLEEP] together. And coffee sipping.

NARRATOR: Here's show host and comedian, Brooke Van Poppelen, to share how she gets ready to be on camera.

BROOKE VAN POPPELEN: Real actors put in the work beforehand, if they're reading their lines to their mirror. Or if they're doing voice memo, they'll record other people's lines and then inject their own, so that they know what the whole flow of the dialogue sounds like. They might invite a friend over to run lines with them.

NARRATOR: That's right. Before the cameras roll, sit down and talk through the scripts at a table read with the cast or one on one with your producer. Rehearsing can help you work out the kinks, and it gives you time to rework the script with the writer if anything feels unnatural.

ELENA BESSER: What I love doing is looking at all of the different ingredients that are part of a recipe that I'm going to cook live.

NARRATOR: Elena Besser has hosted a show or two for the Food Network.

ELENA BESSER: That's right I have. Being able to know what you're talking about is what's going to allow people to trust you and invest in you.

CLAUDE ZEINS: Also, the first time you say something usually isn't the best version of that thing you want to say. But maybe the second, third, or fourth time you say it, you finally lock down exactly what it is you're trying to say. We certainly screwed up this interview multiple times.

ADAM LISAGOR: [BLEEP]

CLAUDE ZEINS: I don't know. Cut this out, cut this out, cut it all out. OK. Let's start over.

CREW: OK, great.

ADAM LISAGOR: Also, never underestimate the value of physical comedy.

CHRIS SAVAGE: Also know that being on camera gets easier.

NARRATOR: Wistia intern, I mean, co-founder Chris Savage recently finished shooting 10 episodes of Brandwagon.

CHRIS SAVAGE: When we first started shooting Brandwagon, it felt a little awkward. It felt like I was trying to play a part on a show, right? There's cameras and lights and people and all this stuff. But it got easier. And the thing that made it easier was more and more we went away from trying to play a part to just being me in this setting, and that just took time.

It took practice. It took sitting in front of the cameras. It took flubbing lines. But as we started to do that, we flubbed more lines, some of them started working. And a lot of the stuff that worked best was just trying to create the environment where I could be the best version of myself doing this stuff.

JEFF AYERS: Do a test show first. I can't stress this enough. The best course of action is to tape yourself and then watch the playback. You are your best critic.

NARRATOR: That's Jeff Ayers from Deathwish Coffee.

JEFF AYERS: I'll tell you right now, I don't listen back to those first few episodes because I know how bad they were. But I know that I was learning and I was getting better and I'm hoping that even today I'm better than the last episode I produced.

NARRATOR: That's right. You're not alone. Making a show is a team effort, so let's hop on the other side of the camera for some advice about directing.

CHRIS LAVIGNE: In my opinion, the most important job for a director is make sure that the set is a fun place to work.

NARRATOR: Chris from Wistia studios has directed hundreds of videos and very few real life actors.

CHRIS LAVIGNE: Yeah, really none, actually. Maybe one.

DAN MILLS: How are you?

CHRIS LAVIGNE: Being in front of the camera can get weird and quite uncomfortable. When I'm directing a video, I will literally say anything I have to to get a smile or a chuckle out of the talent, if they're feeling too much in their own head. So doing this is going to help you get way better takes.

CLAUDE ZEINS: Being on set is like the least natural place on the planet. And so part of a director's job is just to make, let's say actors, but also other people on set, not feel like they're in this alien environment, and let them feel like they can do the best work they can.

MYKIM DANG: Making sure your talent feels comfortable is going to be key to helping you tell your story.

NARRATOR: Here's Mykim Dang from America's Test Kitchen.

MYKIM DANG: Reviewing the script beforehand, having pre-production meetings with them, understanding who they are and where they're coming from is going to be a great way to make sure your show is successful.

DAVE MIZZONI: Creating a comfortable environment for the actor is going to really benefit you. You know, reminding them that we can get this as many times as we need to, or just positive affirmation that it doesn't have to be perfect. It has to be real and it has to be right.

ELENA BESSER: If you are directing someone for the first time, one of the pieces of advice that I love that I've gotten continuously from directors are, act like you are talking to your best friend when you are talking to the camera.

ADAM LISAGOR: Just think about who on the other side of that lens. Think about your audience. Think about who might be benefiting from what you're saying. And that always helps me flow more naturally.

NARRATOR: Keep this advice in mind, and no matter what side of the camera you're on, you'll leave set feeling like this.

DANA SAINT: Nice.

ELENA BESSER: Thanks, everybody.

MYKIM DANG: Awesome job. Awesome work.

CHRIS LAVIGNE: Good job.

DAN MILLS: Thanks buddy. You too.

CHRIS LAVIGNE: Looks good?
