A Gleam In The Eye
What compels a fitness instructor to make a video workout?  For most, the idea is sparked by a love of fitness
and the desire to share their joy in it.  The successful realization of their ambition, though, requires the ability to
see a need and fill it.

Carolyn Hardman, for example, saw a glaring need for a yoga practice that she could make her own,
depending on her time constraints, how she felt, what her frame of mind was on a given day.  Having just given
birth to her first child, it was hard for her to get to a yoga class.  DVDs that were available on the market, while
good practices, didn’t leave much option for variation or flexibility.  Thus came the idea for Yoga For Your
Moods, which offers the practitioner a choice of workout styles, lengths, and even music.

Ana Brett and Ravi Singh noticed that people were becoming less interested in doing their workouts from
books and manuals.  As in other parts of life, people were looking for something more immediate.  Ana and
Ravi translated their teachings into video format to meet this need.

Joyce Vedral experienced the same phenomenon with her books.  So many people, including Oprah Winfrey,
were asking her to put her workouts on video that she finally decided to bite the bullet and tread into unknown
waters.

Before Catherine Isaacson’s current life as a Certified Pilates Teacher, she had been a corporate and
broadcast video producer for 17 years.  Therefore, she recognized the power of video as an educational and
awareness tool.  Having studied with and graduated from Romana Kryzanowska’s renowned program, she
saw a need for both beginning and experienced students to develop and improve their performance, as well
as experience Romana’s authentic Pilates teachings.  Video was the perfect medium for those who wanted to
practice at home or didn’t have access to classes.

From Idea to Reality – A Long Haul
Getting the idea for a video is perhaps the easiest step in a long, detailed process.  Considerations such as
finding a producer are obvious, but unless one has prior experience, he or she may overlook the myriad of
smaller but critical considerations that must be taken into account and planned for.

For example, many are surprised at how time-consuming and expensive editing can be, and fail to properly
plan for it.  Or, worse, end up cutting corners to save time and money.  Marcos Prolo, who both produces and
stars in fitness videos, stresses that “Fitness videos are not like a short movie . . . . They must look sharp and
smooth from beginning to end.”

Depending on the structure and options made available on the DVD, a long process can be made even
longer.  Carolyn Hardman’s Yoga For Your Moods, which offers numerous options for the viewer, is a case in
point.  Achieving the product Carolyn wanted required a great deal of time and energy.

Other things that must be considered are music, music licensing, clothing, set design, covers, pictures, and
even text.

Marcos Prolo knows that good, detailed planning is key to a successful filming.  He spends anywhere from six
to nine months in the planning stages.  Jolene Puffer, whose DVD was produced by Gin Miller Productions,
also spent six months in the planning process, relying heavily on Gin’s expertise.

Katina Hunter, new to the world of video, was initially overwhelmed with the process.  Amazingly, things just fell
into place for her once she committed herself to the idea.  “I needed a videographer, editor, background
exercisers, music, clothes, studio, set designer, replicator, photographer, hair and makeup artist, and graphic
designer.  Where would I start?”  Katina chose to start with hair and makeup, that being relatively easy.  She
asked a beautician friend if she would do it and was astounded to find that not only would she do it, but she
also knew a videographer, editor, and photographer.  “I knew it was meant to be,” Katina says. “because it all
fell into place!”  Even though the Fates apparently conspired with Katina to get her video done, it still took a
good six months of planning and preparation before filming day.

Joyce Vedral takes a year to plan a filming.  She not only plans the workout and production considerations, but
she also does the workouts herself and fine-tunes them as appropriate.  She takes seriously her commitment
to help people get in shape, and won’t put her name on a workout that’s not effective.  Joyce says that although
she does have fun making videos, “It’s more work than fun, because you are trying to help people and you don’
t want to make mistakes.”

Gail Getzwiller’s DVD took 15 years between the idea and the filming, but for other reasons.  She had the idea
for Yoga-Syz when her daughter was about ten years old.   Gail did make a home video at one point for family
and friends, but it was only after her daughter graduated from college with a degree in Media Arts that her
dream of a professional DVD became reality.

Catherine Isaacson, with her background in video production, takes a different approach than some to
planning.  “When I start a project, I first structure it in my mind and on paper with a storyboard for the crew
members . . . . I am able to pre-visualize every movement from the ideal angle so I can pre-determine the
position of the camera for various angles.  A storyboard is ideal if the Director is other than the Talent.  The
storyboard can be shared and analyzed by all crew members.  Director, producer, cameraman, sound
engineer, gaffer, assistants can all use it to ensure that it is technically and creatively viable and faithfully
realized.”  With her background and her planning process, Catherine can go from idea to filming in as little as
a month.  Some of her timeframe depends on the season of the year, because she films outdoors.

Lynann Politte, producer for Ana Forrest’s popular yoga DVDs, also uses storyboarding.  “We did a detailed
storyboard with each yoga move and variation, and took still photos of each angle we thought would show the
pose the best.  Then we created a storyboard with all the photos, matched them with the script, from which the
director cued the camera crew.”  Ana and Lynann work closely together to ensure “everything is visually and
verbally very clear for the viewing student.  Ana is very meticulous in getting the instructions very precise and
footage to match, so that the student gets the best instruction possible.”

Poor Planning = Problems Later
Improper planning can mean the death of a fitness video, as several video participants can attest.  Celia M,
Helen Stephens, Hazel Porter, and Dawn P. were initially excited to be chosen as background exercisers in
two videos for a young, up-and-coming cardio kickbox instructor.  The first sign of trouble came during
rehearsal, when they discovered the instructor had decided to step out of his realm and do a type of workout he
had little experience with.  Although they had been told the workouts were cardio kickboxing, the instructor
thought it would be better to introduce something new.

The background crew, all very experienced with home fitness videos, were already anxious about the sudden
change in plans, but things got worse when they realized he had very little choreography.  A novice to this type
of fitness video, the instructor had failed to research what video exercisers were looking for or what would
come across well in a video.

Although the group attempted to save the day by offering suggestions for improvement, their suggestions were
not taken.  “He appeared open to our suggestions,” Hazel, a certified instructor, says, “but I don’t believe he
used a single one of them.”  Celia characterizes him as “a very focused young man . . . he came into the
project absolutely certain he knew what kind of approach would be wildly successful with the home exerciser.  
Seeing the train wreck that was on the horizon, Hazel and Dawn tried to steer him toward moves that translate
well to home exercisers.  I’m not sure he even heard the words coming out of their mouths.”

Their frustration was further exacerbated when they showed up for filming the next morning and discovered
the sets were not ready.  “One of the sets had not been finished – they were still painting it,” Hazel explains.  
“The other had not been fully put in place yet.  So all of us had to pitch in to help put the first set up and finish
the second.”  The instructor had apparently relied on friends to come help set up the set -- friends who didn't
show.

Music became an issue as well, with the instructor waiting to download his chosen music until the morning of
filming, and then experiencing problems with the download.

It was late afternoon before filming actually began.  Celia describes the experience as a waste of time and
annoying.  “I expected the long hours and even some boredom, but I was annoyed because the whole thing
was so disorganized.”  Helen was grateful she had her fellow background exercisers to chat with during the
day to alleviate the boredom.

The final product was disappointing to all involved, and did not sell well.  The instructor has since gone into
another line of business.

The Producer
Some instructors have the expertise to produce and plan their own work, while others need the experience of
outside production companies.

Jolene Puffer had asked Gin Miller for input on her idea for Yo-Wei, not knowing that Gin also had her own
production company.  When she found out Gin could also produce her work, Jolene didn’t have to think twice.  
“She had such great expertise . . . I wanted all her input.”

Joyce Vedral found her producer, Greg Twombley, through a referral.  Kukuwa Nuamah, who has been
dancing professionally for years, didn’t go looking for a producer.  Instead, Direct TV found Kukuwa and
approached her with the idea of making DVDs.  Ana Brett and Ravi Singh had an outside producer early on,
but were not quite satisfied.  “We have learned through painful experience that we are our own best producers,
because we know exactly what we want.”

A professional production company can provide a variety of services, depending on the client’s needs and
desires.  A typical production company is fee-based, where a client approaches them and they provide services
based on what the client has asked for.  In the fitness world, sometimes it’s not that cut-and-dried.  Sometimes
production can be more of a partnership or consultancy.

For example, Ian Albert of Pranamaya, Inc., producer of titles such as Anatomy for Yoga and Yin Yoga, provides
not only production and post-production services, but also marketing and distribution.  In order to make the risk
of taking on the latter feasible, Pranamaya is very selective about its clients, seeking them out, as opposed to a
client coming to them.  Ian explains, “We form partnerships with yoga teachers whose work inspires us.  In
general, we approach teachers after we’ve had a chance to study with them for awhile.”

Marcos Prolo’s company, Fitness Factory, also provides unique services.  In fact, his is a full-fledged fitness
consulting company, of which video production is one part.  Marcos provides services ranging from consulting
with new club owners, opening and staffing new clubs, and even providing management and instructor
training for club owners.  Marcos’ clients generally find him through fitness conferences and by word-of-mouth.

Before accepting an instructor for video, Marcos looks for certain important qualities.  “I’m looking for
instructors that can teach on camera.  A lot of them are good in the studio, but they have no camera
‘chemistry.’  It takes a lot of energy to be able to film fitness videos.  I look for fun workouts, fun instructors, and I
look for ‘passion’ . . . they must love what they do to be able to be in a video.”

Filming Day
Filming day is almost guaranteed to be hectic, but fortunately, most are not like the one described by Celia,
Helen, Dawn, and Hazel.

Marcos Prolo makes sure he and his crew arrive at the studio early to do sound and lighting tests and ensure
the set is ready.  If time permits, there is also more rehearsal, which helps lessen time and editing
expenditures down the road.

Ravi Singh and Ana Brett have also found out that extra preparation helps.  “Initially we tried not to do a pre-
light day to save money, but we’ve learned from experience it makes the process easier and more productive
to spring for the extra day.”

Carolyn Hardman suggests a run-through with the film crew before the actual filming day.

Even with excellent planning and preparation, filming days are long and can wear on one’s nerves.  Katina
Hunter rented a local gym room for one day for her filming, and felt very pressured knowing she had to get it all
done in a day.  “It took us eight long hours to tape with little rest.  I was so tired and afraid of messing up,
because we would have to start over.”

Ana Brett did about ten hours of yoga for three days straight.  Jolene Puffer found her already-long day was
going to get even longer.  She had left out the whole left side of the body when filming Yo-Wei and had to go
back and re-shoot.  Joyce Vedral jokes about the long hours.  “After awhile, my daughter [a background
exerciser] and I start fighting and give the camera men a good laugh.”

Ana Forrest also had some physically demanding days.  Producer Lynann Politte says, “In two days, we shot
two one-hour videos, plus four special features, all of which required set and outfit/makeup changes.  It’s a
grueling schedule for the talent.  Ana did ten or more hours of yoga a day for the shoot.”

Occasionally, things go much better than anticipated.  Caroline Prevost, Andrea, and Helen Stephens seemed
to have some good karma on their side the day they filmed a spinning workout video with Coach Troy.  
Although they got a little bit of a late start, Caroline says, “Our filming started around noon and we were done by
1:30.”  Helen appreciated the pre-built set, not only for the fact that it was pre-built but because of what it was.  
“Troy didn’t have to worry about a set because we filmed in the beautiful Baltimore museum.”

Unexpected things happen during filming, ranging from the hilarious to the embarrassing to the painful.

Helen Stephens’ knee gave out during her performance as a background exerciser, an event that co-exerciser
Dawn P. describes as “painful to watch.”  Dawn says the tape brings back anxious memories for her when
watching it today.  Helen says, “I didn’t want to stop the filming, so I just kept dancing along.  My knee is still not
100% to this day, and I can’t do my favorite cardio activity very well, which is running.”

Fortunately not all unexpected events are that serious.  Ian Albert laughs, “During the taping of Anatomy for
Yoga, one of our students fell asleep while Paul was lecturing.  He fell over and hit his head on the wall.  He
was startled but not hurt – everyone in the studio fell apart laughing.”

Catherine Isaacson had a moment that still makes her chuckle.  “We were shooting my Pilates Basic Mat
outdoors in a field of snow to demonstrate that with a strong immune system, you can enjoy more of the
outdoors and life in general.  That concept was lost on a car driver who sped around a bend in the trail and
shouted, ‘Wait till summer to film!  It will be a lot warmer!’  He sped on, honking.  It was amusing, and since I
was only shooting visuals, the footage was safe.”

T-Tapp trainer Lannette Madden almost cracked up on the set when she performed as a background
exerciser in a T-Tapp video.  “We were doing a movement where we bend forward with our heads hanging
down.  The woman next to me, a dear friend, and I were both wearing T-Tapp dogtag necklaces, and hers
slipped into her nostril.  I’m not sure how she got it out, but it took every ounce of will not to laugh on camera
when we came back up to standing position.”

Some not-so-funny things happen as well.  Kukuwa Nuamah doesn’t use verbal scripts or rehearsed lines.  
She finds it more natural to talk and work it out as she goes along.  “The worst thing is to say something on the
video that is the opposite of what we are doing, and then realize what you just said.”

Ana Brett and Ravi Singh cringe at a memory of a makeup artist who “made Ana look like a Kabuki dancer.”  
During another video filming, Total Tune Up, “Ana’s white top was too sheer and no one pointed it out to her
until it was too late and the finished DVD was in consumers’ hands.”

The worst experience for Catherine Isaacson was a day when the shoot was running on 18 hours.  She was
finishing up a 30-minute workout in one take, when the cameraman cut too early.  “That was a wrap for the
day,” she says.

Then sometimes there are personalities to deal with.  Lynann Politte’s already-tough job was made tougher
when shooting Ana Forrest’s Pleasure of Strength.  “We had a really pissy cameraman who had a real bad
attitude.  There was a producer who was responsible for this cameraman . . . but he either didn’t know about it
or wasn’t willing to say anything to him.  It was so bad, he was infecting the energy of the whole set/stage.  But
we sorted it out.”

The Stoic Background Exerciser
The unsung heroes of the exercise video, background exercisers happily suffer long hours, demanding
rehearsals, and plastered-on smiles, all for the fun of it.  They most often are not paid, and they even spend
their own money for travel, lodging, and clothing.  Their reasons are much the same as the reasons instructors
make videos – they love what they’re doing and want to share it.

There is also the honor of being chosen by a fitness icon one respects.  “It reminds me of a learning
celebration,” says Lannette Madden, who appeared with instructor Teresa Tapp.  “My motivation was a
combination of curiosity and fun.  By the time I was a cast member in this video, I had been a trainer long
enough to know other trainers and Teresa well enough to really look forward to any opportunity to get together
with them . . . . Knowing how much she [Teresa] cares about everything made being a member of the cast the
honor that it was.”  As icing on the cake, Lannette “came home with so many new concepts and ideas swirling
around in my head, that it took a better part of a year to completely understand and use them all.”

Caroline Prevost, a retired personal trainer and group fitness instructor, was a big fan of Coach Troy’s
Spinervals spinning workouts.  When Coach Troy sent out a casting call for Enter the Red Zone, a friend who
had previously appeared in a Spinervals video suggested she send in her resume.  “I had wanted to appear in
a Spinervals for some time, and this was the perfect opportunity . . . . I was excited and so glad to be there.”

Still others do it for the opportunity to meet others they’ve come to know on internet fitness forums.  
Videofitness.com members (aka VFers) Andrea and Dawn P., who appeared in separate videos, both mention
social aspects as a highly motivating factor.  Dawn was encouraged by Videofitness friends to apply, and was
thrilled to be able to meet and get to know six other VFers in person.  “The VFers just goofed off during breaks
and teased each other,” she laughs.  “I especially liked picking on Hazel [Porter].”  Andrea, talking of her
Spinervals appearance, says, “I knew it was going to be all VFers in it, and I was very excited to meet them.”

It’s a good thing there are so many willing volunteers for exercise videos, because it is rare for them to be
paid.  They often receive complimentary copies of their workouts; however, it is not something one would do to
pay the bills.  In most cases, it is a bill-producer, because participants usually pay their own travel and clothing
expenses.

Kukuwa Nuamah is a delightful exception to the rule.  Her certified trainers appear with her in the Kukuwa
Dance Workouts.  “My background exercisers get to travel to the islands with me for the shoot, all expenses
paid by me – flights, hotels, and meals covered – and they get to have a vacation for a few days after the shoot.”

Catherine Isaacson prefers a different kind of background exerciser, namely a Japanese Akita named
Kessako.  He doesn’t actually exercise, but still manages to steal the show.  Catherine says he is the
consummate pro.

After The Filming
Editing, DVD authoring, graphics, and replication are the major tasks left after filming day.  Cover design
(graphics) is generally handled by an outside source, and some of that work can be handled concurrently with
the planning and filming stages.

Editing is the bear, and can be very intense.  Lynann Politte describes editing Pleasure of Strength:  “We did it
at a neck-breaking speed, and all the while Ana [Forrest] was on the road teaching.  She’d teach all weekend,
then view the video on Monday and then talk with me via phone, both of us watching the footage (her on a
computer, me on my video machine).  We talked through the footage, editing together, via phone.  I would then
create a ‘paper edit’ list, basically a list by timecode of the changes we wanted, type that up, and send it to the
editor.  He would do the changes the next day, and then the following day I’d spend in the edit bay with him
making sure we got everything right.  And then we’d do that all over again.”

Catherine Isaacson also places high importance on meticulous editing to the final product.  “The initial rough
assembly of all audio and visuals (called off-line editing) is easier for me since I already know which takes
were my best when I performed them . . . . The final on-line edit refines the off-line edit with seamless
transitions.  The graphics and audiovisual special effects I use in my production enhance the flow of the
production.  They are not gratuitous.”

The Financial Aspects
Making a fitness video, of course, comes with a price tag.  Depending on the choices an instructor makes for
the production, the cost can be anywhere from several thousand dollars (before marketing and distribution) to
well over $100,000.

The elimination of a set helps save money.  If one is fortunate to be able to film outdoors or has a room in her
own home suitable for filming, she can save quite a bit of money.  Likewise, if the instructor also has
production expertise and can handle some of those tasks herself, the savings can be significant.

Although saving money is certainly desirable, the instructor/producer must have the business acumen to
recognize when cost-saving measures are actually counter-productive; we’ve all seen the “budget” videos that
end up looking homemade and unprofessional.  So the savvy instructor aims for a balance between prudence
and professionalism.

Gail Getzwiller had a lot on her side when she made Yoga-Syz.  Not only did she have a very nice living room
that could be converted into a set, she also had her daughter Jamie, who is a media arts professional, and a
friend who was eager to compose a special soundtrack.  She was able to make her DVD for only $8,500, not
taking into account marketing costs.

For the typical one-video shoot using a rented or custom-built set (but nothing fancy), and using a production
company for most or all of the production tasks, pre-marketing costs hover between $15,000 and $20,000.

Katina Hunter budged $10,000 for Step Party, but it ended up costing her over $15,000 when all was said and
done.  Ravi Singh and Ana Brett can commiserate with the agony of financial surprises.  “Every shoot will have
unforeseen expenses.  This time around, the truck we hired got a parking ticket and also got in a minor
accident.  Almost another $1,000 right there!”  They jokingly add, “And be prepared for the amount of
doughnuts and coffee a film crew can consume!”

Shooting multiple videos at one time can lower the per-video cost.  Ravi and Ana generally film three or more
at a time, and handle some production tasks themselves.  “Even though we shoot a number of titles at one
time, they still average $15,000 apiece.  Try as we may, there does not seem to be a way to do it for less than
this and get a good product.”

At the other end of the cost spectrum are those who completely rely on professional production companies.  
Joyce Vedral and Kukuwa Nuamah fall into this category.  Kukuwa filmed three videos in her session, and
Joyce generally shoots two or more at a time, but not always.  Both clock in in the six-figure range.  Kukuwa,
who also pays travel expenses for her background exercisers, spent $150,000 for her three dance workouts.

Although none of the instructors interviewed for this article fall into this category, it should be noted that there is
another business model offered by some producers that minimize out-of-pocket costs for the instructor.  In this
model, the producer owns the rights to the work, and therefore absorbs all upfront as well as
marketing/distribution costs.  The instructor may or may not be paid a flat fee for his or her performance, but
does receive royalties based on sales.  The upside of such an arrangement is that an instructor new to video
but with limited funds can get her work out in front of the public.  The downside is that the instructor doesn’t
receive any significant monetary compensation.  For the new video instructor using this model, the
compensation is, or is at least hoped to be, future sales opportunities when she is more well-known and
moves into traditional-type production.  Marcos Prolos’ clients fall into this category.  Marcos says, “Most fitness
instructors make a video to help with future exposure, because it takes a long time to recover the costs that go
into getting it all done.”

Advice From The Veterans
Aspiring video instructors often face new challenges and unexpected lessons during their first video process,
and many find the prospect daunting.  Veteran video instructors are quick to offer tips and advice.

Marcos Prolo urges instructors to understand the importance of music, good editing, and choreography.  “I’ve
seen better paybacks on the videos that we spend more time on the choreography rather than, say, spending
money on the set.”

Carolyn Hardman says the hard part really comes after making the video.  “You cannot forget the marketing
aspect of it all, because if you do, all of the filming will be worthless.  Be sure to start the whole process with a
big plan – not ending at the point of production, but beginning with it.”  Ana Brett and Ravi Singh also stress the
need to budget time and money for advertising after the DVD is finished.

Joyce Vedral cautions that one probably shouldn’t even consider the traditional business model, because of
the financial risk, unless one is already well-known.  Because Joyce was already a familiar icon in the field,
having written numerous books and appearing on several talk shows, her investment didn’t carry the risk that it
would under other circumstances.  Instead, she would advise an instructor to first find ways to become known,
and only then make the investment in videos.

Katina Hunter, despite the hard work and challenges she faced, is still enthusiastic about video-making.  “You
only live once, so if it’s your dream like it was mine, do it!  You don’t want to die knowing that you should have
made your dream reality.  Dreams really do come true.”