I’d advise every video production company and even freelancers to have a standard contract created by a local attorney that you can personalize for each client. Once in a great while you may need an attorney to help with unusual changes, but for us that’s been rare.

This may cost you money up front, but it can potentially save your business in the long-run, and it can certainly save you from a lot of stress. I’ll explain why.

First, why doesn’t every video production company use contracts?

The reality is that some of my production friends and colleagues have chosen not to use contracts. One reason for this is that attorneys are expensive and their budgets are tight. Another reason is that they fear it will cause them to lose clients who may be uncomfortable with having to sign a legal document.

When I first started my own company in 2002, I didn’t use contracts for both of those reasons. First, money was very tight, and I couldn’t see paying the hundreds it would take to get a standard contract created. Also back then I really needed each and every client I could get in order to stay above water. I was concerned that a contract might seem intimidating. I worried that clients might drop us if they were required to sign a binding document full of legal language.

I eventually learned that 99.9% of our clients have no problem signing our agreements, and those who won’t sign are not worth the difficulties they may have brought to us. I also learned that the costs that result out of not having a contract are much higher than the one-time cost of having one. Without a contract, you leave yourself and your company open to a variety of problems and even financial losses.

Here’s what a good video production contract can do for you and your video production company:

1. A good contract can tell your client exactly what you will do.

In your contract you have the opportunity to write a detailed description of exactly what services you’ll be providing. You’ll want to be very specific. This helps your client to have realistic expectations for the project.

For example we’ve learned that it’s essential to specify the number of revision rounds a client is entitled to without additional fees.

For many years we didn’t include that in our contracts, and we experienced consequences. Clients felt free to keep adding new changes to their videos without paying anything additional for the editing time. Many clients were reasonable, but once in a while we’d have clients who stretched the limits of what was fair and reasonable. We were ending up spending far more time on the changes then we budgeted for. Since we didn’t set any boundaries in the contract, we couldn’t ask for more money for the increased editing time.

This often happened when a client was taking change requests from multiple people within their company. This is known as approval by committee. Often a client would give us their personal change requests, and we’d make the requested changes. Then someone else from their company would weigh in and we’d have to make more changes.

We’ve found that when we offer two rounds of revisions in an agreement, our clients naturally become much more organized, and the process goes much more quickly and smoothly. Telling your clients exactly what to expect from you is good for your business, and good for your bottom line.

2. A good contract can tell your client what you won’t do.

Sometimes explaining to a client in writing what you won’t do is just as important as telling them what you will do.

For example, we recently created 3D 360° virtual reality videos that were to be used in trade shows. I realized that in order to display the virtual reality videos at the trade shows, the client would be purchasing virtual reality goggles that would work with their Samsung Android phones. They’d also need to have a consistent Wi-Fi connection. These are all things that my company would have no control over.

When there’s something that you have no control over that could impact your project, it’s best to include something about it in your contract.

We included the following statement in the contract:

“At the end of the project we will send the animations to the client to load onto Samsung phones and VR Goggles. The client will purchase these devices, and Ball Media Innovations is not responsible for the operation of the devices.”

That said, we always give our all to make our clients happy. If there ever was an issue we’d certainly work with the client to help resolve it even if legally speaking it wasn’t our responsibility. At the end of the day it’s always best to have a satisfied client.

Here’s another example. We sometimes have clients who want us to shoot an amateur non-actor reading off a teleprompter. This is a fairly common request in the business and medical video world. Usually we advise our clients not to choose this route. In my experience, no matter how intelligent, and despite extensive direction and coaching, most amateurs will not come off well reading from a teleprompter. We get much better and more natural results by using interview techniques to draw the information out of the amateur talent.

Despite this, sometimes clients insist on going with the teleprompter reading.

If we have an amateur performer with a lot of lines, and we’re not confident in the performer, we’ll add something like this to the contract:

“The client will be providing an on-camera talent who will be reading off a teleprompter. Although we’ll be providing a highly experienced director who will do their best to coach the talent to sound as natural as possible, we are not responsible for the talent’s performance. Please note that we would be happy to provide a professional actor for an additional fee.”

2. A good contract can protect you and your company from misunderstandings.

I can’t tell you how many times I’ve had clients expecting or demanding something that we hadn’t promised. No matter how specific I am in our pre-contract discussions, and how many times I’ve included details in a written form like an email, we still experience this.

We tend to be flexible and we like to exceed our client’s expectations when we can, but sometimes it’s just not financially feasible to throw in what they’re expecting.

It’s important to have a detailed contract to refer back to.

This problem becomes easy to remedy by just whipping out the contract and emailing them a quote taken from it, showing them exactly what they signed and what they paid for. It works every time. Then if they still want the additional service, we can offer it to them at a reasonable rate. I find that our clients respect this and we are able to maintain client satisfaction without losing our shirts.

4. A good contract can protect your clients, and inspire trust.

A contract that protects both parties will inspire confidence in your clients. They’ll see that you’re not out to take advantage of them, and they’ll have written proof of what you’ve agreed to do for them. If a client sees that you’ve got a clear, legal agreement that outlines exactly what is to be done, it can and should give them peace of mind.

5. A good contract can keep you out of court.

The last thing anyone wants to do is to go to court. It’s not good for your reputation. If you have a legal document that’s clear and specific, any misunderstandings should be easily managed without having to escalate a disagreement into a court case.

4. A good agreement helps you to get paid.

An agreement allows you to set the payment terms, and allows you to have your clients legally commit to them. Should your client not follow through on their financial obligations, you’ll have a legally binding document that you can use to take to court as evidence.

Thankfully we’ve never needed to do this because the terms in the contracts work really well. We always require two things:

• A deposit that covers at least all of my company’s actual out-of-pocket costs.
• Final payment before the final, approved video is delivered to the client (we give them video with time code on it for approval purposes). We NEVER give the client the final video before we’re paid.

With these provisions, we’re never at risk of losing money on a deal, and we have all of our costs covered just in case. So for example if a client’s business goes under and they disappear in the middle of a project, we can still pay our crew and artists for any work they did.

Investing in a contract is super smart!

Yes, it will cost you, but it might be one of the best investments your business will every make.

In my next article in this series, I’ll discuss some of the specifics of what we include in our contracts.

When a prospective client asks you for your pricing, you’ve got a golden opportunity to earn their business. How much you make of that opportunity depends on you. By creating a targeted and personalized proposal for them, you can radically increase your chances of getting the job.

A well-written proposal can show the client that you understand their needs fully, and that you’re the best video production company for their project. It’s a great marketing tool that allows you to showcase your company, what you bring to the table, and what makes you uniquely qualified to do an outstanding job for them on their video.

I’m going to be writing from the perspective of my experience with my own Miami video production company, but most of what I’ll include can be adapted to any type of video production company such as those who specialize in weddings and events.

Do you need a formal proposal for every prospective client?

Almost always. Assuming that you’ve pre-qualified the client, in my opinion it’s usually worth the effort. I find that I have a much better chance of landing the job with a quality proposal. However, writing it does take time, so before you start, make sure that your services are within the client’s budget.

I also recommend using formal proposals for repeat clients. Never assume that your existing clients aren’t checking out your competition. A proposal gives you the opportunity to remind them and their management why they’ve chosen you in the past and why they should choose you again.

There are certain situations where I usually choose to use a more informal approach.

One of those is when the profit on a project is minimal. When it’s a super small profit, I may not take the time to craft a formal proposal. In those situations I will usually discuss the pricing with the client, and then send an email with that information. The only exception to this is when a client has much more work for us down the road, and they’re testing out our services with a small project first.

Your proposal MUST look professional!

When we first started out, we hired a professional marketing writer to create a proposal template. She spent time interviewing me to find out exactly what made my company unique, and who our target market was. She then crafted a proposal that we could use as a starting point for each client. That was invaluable!

If you’re not in a position to hire someone to do this for you, you’ll still want to create your own template based on your strengths and your specific target market. However it’s essential that your proposals come off as professionally written. If your writing skills are not exactly professional, be sure to always have someone else review and edit your template as well as each proposal. Never let something go out from your company that has spelling, grammar or spacing errors. It’s a sure way to make a bad first impression.

What should be included in your proposal? 

To some extent this will vary depending on the client that you’re pitching to and the type of project. You’ll want to include anything that shows the client how well qualified you are to handle their specific project. Make it as tailored to their company, project and needs as you can. For example, if you’re shooting a CEO of a company and you’ve done that many times before, be sure to mention that. If you’ve worked for a similar type of company, mention that as well.

You’ll also want to present your company in a positive and professional manner. Take every opportunity to toot your own horn. Whenever there’s something special or appealing about your company that you could mention, do it! For example, if you’re talking about your crew, mention their stellar qualifications. Of course if you don’t have anything glowing to write about them, simply don’t mention it. Never include anything that’s less than honest.

You’ll also need to include details about the project. In future articles, I’ll be showing you how to create contracts. When we make a contract, we use the proposal we created for the client as the first part of the contract. It makes it easier to include complete and specific details about the project in the proposal. It also gives the client the sense that you completely understand what they’re asking for.

Our proposals are made up of several sections:

1. Introduction

Our proposal begins with a brief sentence or two that gives the basic objective of the project. Here’s an example. Please note that I’ll be removing the clients’ identifying information:

“Ball Media Innovations, Inc. is pleased to present this proposal to “company” for the purpose of shooting and editing a real estate marketing video featuring their property in Miami, Florida.”

This can be very simple and straight forward. It’s a good idea to include locations and dates if it’s an event.

2. About Our Company

This is where you can really shine. In this section you’ll want to write about what makes you uniquely qualified to serve the client. Remember that you’re trying to outshine your competitors here, so don’t be shy about mentioning your unique strengths and capabilities. Be honest, and don’t overstate anything. No exaggeration. Only share things that you can back up.

In this section we usually share:

• About the knowledge and experience we have that makes us unique.
• Details about our excellent customer service.
• A short version of our client list, including clients with similar companies.
• Testimonials, especially from clients with similar projects. We usually include one or two testimonials in this section.

If you’re not sure what to write about, your company most likely has an About Us page. If you check out my “About Us” page, you’ll see a lot of the raw material for our proposals.

In our proposals, this section is usually about 1 to 1 ½ pages long.

3. Scope of the Project

This is where we give the details of the project, and the services that we’ll be providing. We start with an overview giving a basic description of the project that’s a little more detailed than the introduction. Then we go into details using sub-sections such as:

• Script
• Shooting
• Editing
• Cost

Again, throughout this section remember to talk about anything that could make your company look appealing. Here are some more details on what to include in those sections:

Script: If you’re writing the script, you’ll want to briefly describe the process and the extent of your services. If you have a great writer, you can talk about his/her experience and qualifications.

Shooting: Include details about the shoot such as the crew included, types of equipment, times, locations, backdrops, etc. We also mention anything that the client will be providing such as equipment, on-camera talent, etc.

Editing: We list anything that will be included in the edit such as the insertion of PowerPoint slides, stock footage or images, music, voice over, etc. Again, we also mention anything that will be supplied by the client such as logos, photographs, PowerPoint slides, etc. If it’s appropriate, we mention the format the client will give it to us in, and the format that the final video will be given to the client in. We also specify the expected length of the video.

Cost: Naturally this is where we break down the costs for the client. Be sure to keep it organized and easy to scan. We usually break down our costs for the shoot and edit separately. We find that having two lower cost items rather than one big cost helps reduce sticker shock.

It’s important to lay everything out in advance. We don’t want the appearance of hidden costs. In the cost section we also include information about:

• The payment type – credit, cash or wire transfer.
• What’s not included in the price such as shipping or lunch during a shoot.

So a statement for a project may look like this:

* This price assumes that the client will be paying by company check. It does not include shipping, or lunch during the shoot. Client is responsible for these fees.

4. Next Steps

Here we provide the client with their next steps. This should be a call to action. We let them know who to call if they have any questions, or if they want to proceed. We make this section noticeable and easy to find by using all capitals and color in the heading like this:

NEXT STEPS

5. More client testimonials

Although we include a couple of testimonials in the “About Us” section, we include more at the end of the proposal. Why not take the opportunity to wow them if you can!

Your proposal should make a positive impact

When you put it all together, this type of proposal makes a great impression when done right.

In our last article, we discussed building an in-house corporate studio. Assuming that you’ve got the approval to move forward, the next challenge is budgeting for the studio.

If you’re not familiar with how corporate budgeting works, it can be a real head-scratcher. This article will give you some ideas on how to move forward. Since many large companies employ different budgeting techniques, I’ll touch on how to make various budgets work for your new studio, as well as what you need to include in your budget.

TYPES OF BUDGETS

In my years of managing a corporate video facility, I experienced some different budget models for our facility. Those are:

• Incremental budgets
• Chargeback budgets
• Zero-based budgeting

There are other types of budget models; however I’ll cover these three just to give you an idea of what’s possible and what issues you may encounter.

Incremental Budgets

Here’s how an incremental budget works:

With an incremental budget, you just look at the past year, and add a percentage to increase it for the coming years’ budget. For example, if your studio budget was $250,000 last year, you would add 10% to your new budget thus making it $275,000 for the coming year.

These were very common when I started my career, and it was used during some of my time managing an in-house facility. As you can imagine, this type of budget doesn’t take into account how the company is doing financially.

I found that since our budget kept going up incrementally, others in the company saw that as a red flag. I was called on to justify my position’s existence and the studio’s existence every year. That was not fun.

Chargeback Budgets

Chargeback budgets are also common. They can be used either as a full or partial chargeback system. During my time managing an in-house studio, we used a partial chargeback for many years.

Here’s how a partial chargeback budget works:

The video department is given an annual budget, and then whenever an internal client requests video services, only the out-of-pocket costs are charged to the client. For example, let’s say that the training department needs a high level training video. In order to get this video shot and edited, you need to bring in a camera operator, an audio tech, a grip, make-up artist and a production assistant. You also need to rent some furniture. All of this additional labor and equipment is then charged back to the client.

Here’s how a full chargeback budget works:

Under a full chargeback model, the video department charges internal departments for the full cost of running the department. So staff salaries, benefits, equipment purchases and maintenance as well as software are all figured into an hourly rate and clients must pay this rate. In essence the company as a whole supports the department.

Zero-Based Budgeting

This type of budgeting is a relatively new model, and I experienced this working as a permanent sub-contractor for an in-house studio.

Here’s how Zero-based budgeting works:

Under this model, a video department’s budget starts at zero each year, and the department must justify its expenses on an ongoing basis. The goal here is to avoid spending money needlessly, and at the same time determine how to run the studio more efficiently.

Which budget model is best?

This is not usually a question most in-house studio managers get to ponder. Usually the model you’ll be working with is handed down to you from above, and you’ll have to deal with what’s given to you.

If you do have some choice in the matter, you can find other models that may work for you, work with one of the above budget frameworks, or you can use a combination. For example, we worked within a Part Incremental/Part Chargeback/Part Profit model for a company studio that used fulltime contractors.

In this combined model, we had a rate sheet for all different services, and when a client came to us with a video project, we provided them with a quote. The quote included the rates for each service, including our contractor rates, sub-contractor fees, and any out of pocket costs. We charged less than it would cost if you outsourced video services, but we also added in some fees so the studio could afford equipment updates and maintenance.

Of all the models, I felt this combination worked best for us. We always had money in the budget, and we didn’t have to continually justify our existence anymore because the chargebacks justified us.

The downside was that we needed to monitor the budget on a weekly basis, and submit the chargebacks into accounting. As you can imagine, there was a lot of paper work.

THINGS TO INCLUDE IN A STUDIO BUDGET

Regardless of the budgeting system you end up with, you’ll always need to make sure you have money available for certain things. Among the major items to include when you’re projecting your financial needs are the following:

Salaries

Depending on the number of employees in the video facility, salaries can be the biggest expense in a studio. If you haven’t decided on whether to hire a video production staff or to outsource, check out my article on that topic.

Contractor or Freelancer Fees

Depending on the size of the video department, there can be a need to bring in extra help. While working for a large corporation, there were about 3-4 times during the year that we needed to bring in extra crews and editors to meet the high demand of certain projects. For example, a typical global convention could involve producing 12-14 videos in a very short time frame, and some of these projects involved travel. We would usually bring in 2-3 additional editing systems and editors, along with freelance producers and crews, to get everything done.

New Equipment Purchases

This can include new cameras, lighting instruments, new computers and editing software, etc.

Equipment Rentals

We would often rent a piece of equipment rather than purchase it, especially if it was something we used only 3-4 times a year. A good example of this is a camera dolly. For us it didn’t make financial sense to buy a dolly and tracks since it’s seldom used. We needed to take the rental fees into account.

Music Library and Effects Library

It’s a good idea to have multiple music libraries on hand so you always have fresh music for your videos. Also there are many effects libraries out there such as Sapphire or Digital Juice that have effects you can use in your videos to add polish to your corporate videos.

Stock Footage and Images

Joining a stock footage library and image library can also help you add more polish and excitement to your corporate videos. By purchasing credits ahead of time, you’ll be ready when these needs come up for a video project.

Maintenance

Studio equipment needs to be properly maintained on a regular basis. Just like an automobile, as equipment ages, or its use increases, maintenance costs go up. Painting falls into this category. If your studio has a green screen cyc, it needs to be painted on a regular basis, so it always looks great on camera.

Expendables

This includes things such as batteries, light bulbs, labels, DVDs and CDs, make-up, office supplies, etc.

In the next article we’ll be talking about what types of equipment a corporate studio needs.

Greg Ball is the president of Ball Media Innovations, Inc., a full service video production and post-production company focusing on corporate video production, as well as film and video translation. The company headquarters is in the Miami – Fort Lauderdale area, with crews in South Florida and the Orlando area.

Greg is available as a consultant to help you build your in-house studio. Visit the website at https://www.ballmediainnovations.com, and join him on LinkedIn and Facebook.

So the decision has been made to bring video production in-house, and you’re the company’s video guru. You’ve been tasked with building an in-house video facility. You’re not sure whether to jump for joy or to become a stock holder in Alka Seltzer. Where do you start?

Prior to starting my own video production company, I was the Manager of Video Communications for Burger King World Headquarters. I was tasked with building a studio from scratch – not once, but twice! The first time was after Hurricane Andrew totaled our original studio, and the second time was after the world headquarters was moved to a new building.

Luckily in my early career I had designed and equipped studios for a living, so I kept reasonably cool. Yet with all my experience, it was still a challenging (but often fun) experience, both times.

I’m sure I don’t stand alone. Most video production people would love the idea of designing their own video facility the way they see fit. Regardless, it’s still a huge undertaking.

The decision to move forward with your own studio is complicated and depends on a wide variety of factors, not to mention that there’s the issue of the fluctuating economy and fluctuating budgets. So how do you know whether you should be building and staffing a studio, outsourcing everything, or a combination of both? It’s a topic I dig into in depth in an article where I ask whether or not it’s worth the expense to build an in-house corporate video production studio. It should give you the information you need to consider your options.

If you’re ready to begin the process, you’ll need to have the answers to some important questions right up front. Here are the questions, as well as some suggestions for what you’ll need:

1. What’s the Budget You’re Working With to Build Your Studio?

Let’s face it. In corporate America budget plays a key role in most projects. This is no different. You’ll need to get a clear picture up front on the amount that’s been allocated to this project. You’ll also need to know if there’s any wiggle room. Your actual budget will influence everything from your equipment choices to the space you create.

2. What Types of Video Production Projects Will You Need to Accommodate?  

You’ll need to consider just what will be done in the studio in order to design it properly. Ask yourself what types of videos will be produced. For example, are you looking to shoot small tabletop products? Or will your videos involve a spokesperson talking while standing and looking directly into the camera? Will you be shooting multiple people at the same time? Are you interested in green screen projects? Or will you typically shoot individual seated interviews? All of these projects may have different requirements, so you’ll need to plan for all future possibilities.

3. What Space Can You Get? What Space Should You Get?

Ideally, at a minimum you’ll need at least a 15’ by 15’ studio space with around 12 feet of ceiling height. Is there available space somewhere in the building to construct a studio and edit suite? If not, can it be added?

Space is critical, especially when you’re trying to control lighting. You may often need anywhere from 6 to 12 feet between the back wall and a person on-camera so you can light them properly without casting shadows on the back wall, or so you can add some depth of field to your shots. Overall, the distance from the backdrop, green screen or wall to the video camera should be about 18 feet if possible.

I was once tasked with building a studio in a company after they had already dealt out all of the company’s physical space. This is usually how it happens. A corporate TV studio can be an after-thought. In this case the space they allocated was 10’ by 15’ with a 10-foot ceiling height. I was asked what we could reasonably shoot inside that space. My answer was “Children, small people, and maybe some tabletop products.” Not quite what they were hoping for. That’s the studio we built, but what we could do in it was very limited and it was very frustrating for the crew to work in it.

For a green screen studio, or even if you have a white wall, you’ll want to have enough room to not just avoid shadows on the background, but to move the camera back far enough to be able to shoot a full body shot.

Some people say that a good rule of thumb is that the distance from the back wall to the presenter should be twice their height. So a presenter who is 6 feet tall should stand at least 12 feet away from the rear wall for optimum effect.

Consider that the camera should be about 10 feet away from the presenter and you’re automatically looking at 22 feet of space.

For ceiling height, it’s always best to be able to hang lighting from a grid. This is especially true when you’re building a green screen studio. This allows you to create even lighting on the background, and not have to worry about lighting the background each time from scratch.

With a presenter standing, and being about 6 feet tall, there should be around 3-4 feet of space between him and the lights, so the lights are never in the shot. Some video lighting can be 2-3 feet wide, thus the recommended minimum of a 12 foot high ceiling.

4. How Do you Get Good Sound Quality and Noise Reduction for Your Studio?

How quiet is the space? Are there going to be sounds that are beyond your control with the potential of ruining your videos? Listen to the room with your eyes closed, and check for noises. There are a variety of sounds that can impact your videos on a day-to-day basis. Here’s a short list:

• White noise
• Window noise
• Foot steps
• Phones ringing
• People conversing
• Doors closing
• Outside traffic, airplanes
• Weather
• Elevator and door access

I’d strongly suggest that you avoid having a window in your studio if it’s at all possible. Windows may allow sound from the outside in. Also keep in mind that sound bounces off of windows. If you can’t avoid having windows, you may want to black them out with boards, or black out shades.

White noise is a tool that’s commonly used in corporate offices, with white noise speakers inserted in the building. This helps deaden the sound and adds to the privacy of conversations. Make sure that there are no white noise speakers in the space you’re considering for a studio, or it will negatively impact your sound quality.

Air conditioning noise is often a challenge. Most construction companies do not consider HVAC noise when they are building an office. This noise can be loud and inconsistent only creating noise when the room is being cooled. HVAC is very important when building a studio. I’d suggest that you consider using oversized air conditioning ducts. Oversized air ducts cause the airflow to be spread out, reducing the sound of the air coming from the ducts. Consult an HVAC expert who can determine the proper air flow necessary to keep the studio cool and people comfortable, even with video lighting, while at the same time keeping the sound to a minimum.

Of course there’s always people noise to contend with. Let’s face it, people make noise during their workday. Phone’s ring, they walk to meetings in their high heels, office doors or exits are opened and closed, elevators chime… All of these sounds can interfere with a video shoot.

See if you can find a suitable location away from high traffic areas. It should be an area with easy elevator and door access. You may need the ability to bring in sets, props or additional video equipment for a particular shoot. Having access to doors and freight elevators will be beneficial.

For good sound isolation, you may want to consider building double walls around the studio. It’s almost like building a room within a room. Many studios are built with an inner wall, then an outer wall with an air gap in between.

Think about sound travelling between these walls. The sound will go from the outer wall into the air gap, and then into the inner wall, and finally the studio. Since the walls and the air gaps have different densities, the ability of sound to penetrate into the studio is greatly reduced.

The shape of the studio will also dictate the ability of sound to bounce off of the walls. A contractor experienced in sound absorption will usually have answers for you.

5. What Are Your Power Needs?

Adequate electrical power is very important. It needs to be stable and clean. By that I mean that there should never be any other types of equipment connected to the same power lines. Otherwise you’ll have power surges and possibly audio hums in your equipment. Also know and understand the amount of power that your video lighting and equipment might draw. Get as many individual circuits as possible.

Edit systems should also have dedicated, clean lines. Each computer should be on a dedicated line. Keep copy machines, fridges etc. on their own circuits.

The best advice I can offer is to hire an electrical professional with experience wiring recording facilities or at the very least computer centers.

Conclusion

I hope this gives you some ideas to consider. In our next article we’ll discuss budget implications and how to run and staff your studio.

Greg Ball is the president of Ball Media Innovations, Inc., a full service video production and post-production company focusing on corporate video production, as well as film and video translation. The company headquarters is in the Miami – Fort Lauderdale area, with crews in South Florida and the Orlando area.

Greg is available as a consultant to help you build your in-house studio. Visit the website at https://www.ballmediainnovations.com, and join him on LinkedIn and Facebook.