For audio - if within budget - i.e. a Zoom H1 (about 85-90 USD) will help significantly..
With its foam windscreen it also can double for a handheld microphone.

The display on the CX12 is quite small for serious judging the quality of shoots and test shoots and while settting up the camera - but as the CX12 has a HDMI output - bring a (small) TV with HDMI input and tape it to a second tripod or a chair. If you turn it the teacher can watch himself while preparing - or even while shooting - some people do not like this, though...

That Sony HDR-CX12 is the exact camera I had up until yesterday when my new Panasonic Lumix GH2 arrived. The CX12 was I think 6 years old or so, so it was time.

I don't want to spend your money, don't know what your budget is, but what I'd suggest is buy the GH2 and use this job to help pay for it. At least then the video quality itself will be 100x better, and the mic on it is a lot better than the CX12 mic.

Also I'd get a Zoom recorder (I have the Zoom H2 model) for the audio.

The GH2 also does better in low light.

What's your timing to start shooting? It may take a little bit to learn all the GH2 features, but you could still shoot in auto and be better than the CX12.

As far as other real tips I'm an amateur too.

Joshua, congrats on the first job.

Since the video will be instructional, I assume the instructor will be talking. Yes? I just picture a studio with lots of hard surfaces and cheap camcorder microphone -- lots of boomy and lifeless sound. What do you have in your audio kit? I hate to suggest something that will eat your profits, but renting a wireless lav for the instructor and using an inexpensive Zoom recorder would likely go a long way to make the instructor intelligible. At the very least, the more polished audio would make the instructional video stand above the instructional detritus that litters Youtube.

what they said: lights and audio.

I'll add to the pile... for editing, find the best selling DVD currently out in that gerne, buy it and watch it a few times, watching all the production and content for comparison and as reference material. Sure it is the content that made it a best seller, but I bet the production is top notch also and can give you something direct to aim for.

Use it to refer to while editing: is your colorful enough? Contrasted right? Audio clear enough? etc

To add to what others have already said, strongly consider a wireless lav or a head-worn mic, depending on how much he moves around.
Either way, a wireless transmitter will be involved and you don't want it slipping off of him which is why a NeoPax Wireless Transmitter Belt is highly recommended. These are $30 or less at most pro audio places.

Mike

Since your client is going to be selling the DVD you produce, make sure the legalities are in place. I expect that the music is important to the dance bits, so you need to use royalty-free or properly licensed music. (Paying $0.99 to itunes is NOT buying the right to resell the music).

Also make sure you have waivers from the people in the video.

Make a script. It will infinitely ease your editing job.

I completely agree with those who say pay attention to the sound, it is at least as important as the video. If wireless mics are too complicated for you, then consider ADR (Additional Dialog Recording).

That is, after the video has been edited down, sit your client down in an acoustically proper environment and have him/her lip sync the voice bits into a proper mic (with pop filter) and recorder. Add that sound as a new track, add the music as a track, and mute the original camcorder sound track.

Syncing the music will not be fun. I would start the camera for each dance routine, and then start its music FROM THE BEGINNING OF THE SONG. Then I would ask the talent to clap his hands in view of the camera at the first beat of the music.

I, too, am an amateur with a minimal budget, but I consider my inexpensive AudioTechnica Pro 88W wireless mic to be indispensible. I also have an inexpensive AT 2035 ($126) I use for voice overs that I use with an inexpensive 4 channel Mackie 402-vlz3 mixer ($99.99) to provide phantom power. That in turn feeds a Tascam DR-05 recorder ($99.99 - all prices at Amazon). Once you get started on the road to good audio, it is possible to spend more on audio gear than the video gear - but well worth it for the quality it adds to your production and reputation.

Fred

A real world example of sound making the video: I shot a large concert featuring 6 pianos in a 1000+ person theatre. I set up a pair of Rode NT5's in ORTF by the conductor and ran them into my Sound Devices 302, and recorded on my Korg MR-1000. Not elaborate, but not cheap. Video was on my Canon XH-A1. Not cheap, but most definitely long in the tooth.

Pressing "play" to view the Blu-ray final product, the VERY first words out of my client's mouth were,"WOW! That DOES sound good!" And that's because it did. The client loved the video, but was infatuated with the sound. 'Nuf said.

Is the instructor going to instruct to music, specifically music not in the public domain? Yeah, probably, right? If so, you'll need rights, likely a master license, to coordinate the video to the pre-recorded music. Prices for those are all over the map, and copyright holders (usually music publishers) don't even have to grant the rights. If you want to stay legal, the costs involved, assuming you even are offered a license, could make your project a still birth. Better and safer to look into royalty-free music or some buyout library with hip-hop.

Hope this doesn't rain on your parade, but what you're going to do is a long ways from shooting family videos.

Congrats on your opportunity.

I just downloaded this book yesterday. Humorous. I have already have picked up a a couple of good ideas.

How to Shoot Video that Doesn't Suck by Steve Stockman
http://www.barnesandnoble.com/w/how-to-shoot-video-that-doesnt-suck-steve-stockman/1102006339?ean=9780761165293

I haven't seen any of your videos so I don't know if they suck. I know that my videos have, and often still do.

Stockman covers various purposes including music, instructional, and motivational videos. One thing of value is shooting your video for a purpose (show case the Dance Academy's program for Children age 8-10) rather than a result (make a good video and get more paying video jobs). Never thought of it that way but it makes sense.

You could pop over to B&N and see if they have it in print, or download it to your eReader/PC if you are in a hurry. I paid about $11 so not too much to invest if it turns out that the eBook itself actually sucks!

Good luck with your production.

You've already received tons of good advice here and I would like to affirm the importance of audio. If the audio sounds great the video will look better to viewers (there was a study done on this some years back).

Location Sound: an external recorder like the Zoom is great - I have one myself - but if you use the built-in microphones the audio will have lots of echo. You can greatly improve the sound by connecting a low-cost lavalier mic like the Audio Technica Pro 70 ($115 at B&H Photo) to the Zoom's mic input.

Music Tracks: you can find some licensing FAQ's here:
http://www.shockwave-sound.com/Articles/003_Music_Rights_Terms_Explained.html
http://www.shockwave-sound.com/Articles/005_Youtube_Safe_Music.html

YouTube: Even with properly licensed music ads may appear over your videos without your permission and you need to be aware of how and why that can happen and what to do about it. http://www.shockwave-sound.com/faq.html#youtube

In terms of producing your first video the best advice I can give you is to prototype it. Producing a "quick 'n dirty" 2-minute sample will help you see what works and what doesn't, where to focus your time and energy, and what can be fixed/enhanced in post. A few quick thoughts on strategies and tactics for prototyping:
- Keep it simple, use outlines not a script (I use a content outline and a shooting outline)
- Make it quick 'n dirty; your goal is to gain a big picture view of the process as it relates to the client and to the end product, so don't waste time trying to make everything perfect, and...
- As far as your client is concerned you are merely evaluating equipment setup options, lighting, and camera angles; if you do so with absolute minimal impact on his time he will appreciate the extra effort and will likely welcome a second prototyping session
- It's much easier to light an interview than an entire dance studio, so focus on the interview the first time out
- Post your sample online and post a link in this forum - you will get plenty of feedback on how to improve what you've done
- After receiving feedback from your peers and making changes, review the video with your friend/client. If his interview looks great, the audio is good, and you show him a result within a week you will have established credibility.

Wow. Just like I had hoped, some really good advice here. I can't tell you how much this helps and how much I appreciate it. I will follow up on all the advice her.

Bob, Thank you for your suggestions, really good. I love the way you say "...one horror you may face.. ". Shows you know how these things go. LMSO (socks). Is there anyway you could provide a link to the exact lights (as cheap as possible) I should order? I couldn't seem to find a match on Ebay.

Thanks everyone for the interest, seems my main concern is the audio (as it always has been)... I have this mic: http://www.samsontech.com/zoom/products/handheld-audio-recorders/h2/ that I was planning on using then syncing after the fact. I am worried however that I will be able to keep track of what audio for what video, I will have to take good notes. How/where would I set up that microphone to best capture the audio? I was going to rig it to a pole and suspend it directly over the instructor to get as close as possible without being in the shot. Do you think this microphone will be enough? My only other fall back would be the hideous options of adding subtitles in addition to a weak sound track.

I also have this mic, http://store.sony.com/p/ECM-HGZ1/en/p/ECMHGZ1 but I don't know if it is a step or or step down from the mic on my camera. I will now schedule a test with the client to shoot some video, look at it, post it here... and take it from there.

I really cannot spend any big money on this project, I just am not getting paid enough (like at all), all my money goes to family needs and other necessities. I was, however, able to get a new, amazing tripod (because didn't have one at all and need it long term anyways: http://www.amazon.com/Vanguard-Alta-Pro-Aluminum-SBH-100/dp/B003WKOENO/ref=sr_1_3?s=electronics&ie=UTF8&qid=1351024408&sr=1-3&keywords=at+263+tripod and I made a dolly and track from some stuff I had so I could do some extra coverage of tracking shots to add some interest.

Music shouldn't be a problem because I already discussed this with the client.

I have bought and watched many video tutorial dance DVD's. I am pretty confident I can produce something better than what I have seen. Mostly they are outdated (90's era) and really just provide the basic view of what the instructor is doing, so I think I can at least do that if I can get the audio to sound good.

I bought that book, How to shoot video that doesn't suck (which would be a new experience for me, instead of trying to edit everything to fix all my shooting catastrophes).

Last question for now: My brother also has a Sony RX100 http://store.sony.com/p/Sony-Cyber-shot-DSC-RX100-Camera/en/p/DSCRX100/B that can shoot in 60p (I have no idea what that means other than it is a higher frame rate). Would that be a better camera to shoot on?

Again, thanks a million everyone. Every post helps me immensely as I am trying to be responsible to do as best I can.


Joshua

"Is there anyway you could provide a link to the exact lights (as cheap as possible) I should order? I couldn't seem to find a match on Ebay. "

They're not lights, they're lamps. There's an example this.

It's up to you to find something to hold them but the curbside cleanup day should yield many suitable standard lamps etc. I also have a collection of smaller daylight CFLs that I can use to replace the lamps in fixtures already in a venue.


Regarding audio. I have always looked at it this way. Video cameras are an expense. Grips, lights and good audio gear is an investment, nothing that I have bought over the years in any of those areas has devalued, some of the mics have gone up in value.

Last event I shot the DJ didn't have enough XLR lead, no mic stand not even a mic clip. All that is ALWAYS in my vehicle and I have a well earned reputation as the "thank god you're here" guy.

Bob.

<<He is going to make decent money off of it so it needs to be good>>

Joshua, while it is important to stretch yourself with new challenges as you are doing, you must also take care to put yourself in a position to succeed. Doing a test shoot is great because you'll be able to discover a lot about equipment and workflow in a low-pressure situation. You'll also have the opportunity to get on the same page in terms of quality expectations with your client. If your client wants better quality in some area, better to know sooner rather than later. And if he does, you would be more than justified in asking him to cover the cost of purchasing or renting the equipment you need since this is a profit opportunity for him, not you.

I'm looking forward to seeing what you come up with. With all the thought you're putting into it I'm sure it will be quite good.

"If your client wants better quality in some area, better to know sooner rather than later."

There's some very good advice there.
Many times I've been caught out by the "quality creep" issue, I have one client who has Lady Gaga ambitions and no budget and will not even put in the hard yards of her own time. I think the latter is the biggest challenge.
When you know what it takes, wen you're effectively being a charity for the client and still they will not play your game, it's becomes very unrewarding and frustrating. I always like to feel I've given it my best shot, even if I've made a loss at least I can walk away with a sense of pride and satisfaction. When the client denies you even that return on your efforts it is very discouraging.

Bob.

Since this is an unpaid job (in reality) some test shooting will be very valuable. It will show your client (in this case the producer) where he needs to spend some of his future profits so you to hire some essential gear. You have two scenarios: dance studio and interview. I think the latter you can handle with your own equipment, but you and your producer need to be quite clear about the form of the dance sequences. Is this to be in the style of Fred Astaire (dancers seen full height) or in the modern style of dynamic CUs where you seldom see their feet. Does he want a documentary style (largely unscripted) or planned sequences? How many hours/days to shoot?
I don't expect any fixed mike will get you the audio you need and audio cables will be very restricting of camera movements. Have you checked out equipment owned by friends? Is there someone with a small recorder, someone with a lapel mike (or headset)? Smart phone? Wireless link to camera would be great, but if you record the instructor wild and record room audio on your cameras, you can sync up in editing (can be hard work, but I'm assuming you can spend the time). Victor Milt has given some pointers for making this sort of shooting a bit easier, and the crux of his advice is to establish sync marks at the start (whistle, clap, gunshot, whatever). If you start recorder and cameras together and keep running, even during camera moves, then wild sound will be fairly easy to match to visuals. If you need to stop a camera, each operator has a clock which they shoot after any restart. Don't forget cut-aways, spot sound effects (e.g. feet) that will be extremely useful in editing.
I've mentioned "cameras" because it may be useful to have a camera shooting a master shot while the other is mobile in closer. You might wish to keep a camera on the instructor. I'd also suggest having assistants, whom you can engage as interns (they don't get paid either). It will be easier to shoot if the style is along the lines of planned Fred Astaire sequences, and while this will take longer the result will be more polished.
Having seen your earlier work, you can do this. Planning, planning!

EDIT: I recall in my young days the technical sophistication we were able to achieve through hard work. Film was the shared expense and nearly everything else we made ourselves because we couldn't afford anything we didn't already own individually. I edited my first double system lip sync by measuring film and tape against rulers I drew up (I borrowed a projector to transfer the audio to sprocketed tape) --- this was in the days when amateurs were inventing our own substitutes for pulse sync double system shooting. We used orange cellophane on windows in place of full CTO (its still a good substitute). It's a lot easier with today's gear, but figuring out how to make do is still the same.

Serena has some real pearls in her post above.

If this is going to be a multi-day shoot (even if planned for 1 day, retakes after reviewing the "dailies" will make it multi-day), pay attention to "continuity".

Mark the tripod position on the floor (or measure to it) so the camera is in the same spot for all shots (if that is what you want.) Take a still photo of what the talent is wearing - should be the same from day to day. Speaking of wardrobe, make it easy on yourself and tell them to wear solid colors.

Watch the background for water bottles on tables, etc. If there is a clock in the frame, cover it up or the hands will appear to be jumping all over the place as you slide events around. Watch out for mirrors. Are there windows in the room - how will you control the light? Don't shoot into a window. etc., etc., etc. I have run into all these things over the years.

Fred

@ i c e: I have the Sony mikes HGZ1 and the HST1 for use with my Sony CX700/690.
The HST1 is very good and works well with a dead kitten while the HGZ1 sounds like a vacuum-cleaner-tube - IMHO.

I have the RX100 too - and it will definitely do a better job.

Some 2 cents: Before you go to the dance studio and use days for shooting I would suggest that you make a few shots and put them through the full pipeline from camera via editor etc. and to the DVD. Only so you can check if the equipment/settings/mikes/fps etc. that you chose - and correct/improve them if needed.
All this to avoid the "Oh Crap!!! I should have ..."-experience :-)