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Marketing Communications using Film & Video

Checklist

15 points every good film script should contain

The film script is a key component of any means of communication within the moving image. We can say with confidence that a film or video – at least from the point of view of the client – can only ever be as good as the underlying concept.

There are numerous ways and possibilities of conceiving a film or video and of putting it in writing, be it for coordination or exposure. Whether an advertising film with a director’s interpretation (also known as DI) and a storyboard, or a synopsis, treatment, story outline, or simply a written document entitled “Concept”, every film script has a common denominator: 15 questions that define the final outcome of the work in progress.

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4 Steps to success

How to ensure a webvideo has a longer than 3-second lifespan on social media

For a webvideo YouTube isn’t just the world’s largest distribution platform, but also a giant graveyard for audiovisual orphans. There are millions of webvideos eking out a forgotten existence online as bloodless zombies. Every hour hundreds of thousands of videos are clicked on, only to be sent back to digital oblivion seconds later.

The fact that many films and videos often don’t survive online for longer than a few seconds isn’t always down to just their content. It also depends on the form and intrinsic structure of the webvideo. In this article we will show you how to think, film and edit videos that are guaranteed to exceed that 3-second online life span.

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Important is what is understood

How to communicate clearly and simply

To communicate clearly and simply is more than merely decisive for editorial, content-related success in communication by film and video. Clear communication can be decisive for a project’s success during production. 

One of the single biggest problems in communication is the illusion that communication has taken place. In this article, Videothink presents two practical proven recipes to communicate clearly and simply, which help to improve the quality of communication. 

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A deceiving scenario

Videos convinced him to become a terrorist, then a traitor

For 27-year-old Harry Sarfo from Germany, ISIS propaganda videos were part of what initially attracted him to join the terror group. But as he witnessed one of their propaganda videos being made, he realized it was not the scenario he had imagined and decided to desert.

Since his identity was made public in the New York Times last week, his name is now not only known to the secret services, but to the entire American and German public. An interview conducted with Sarfo in English, inside the high-security prison in Bremen, made it into the international press when his connections with the Islamic State’s Secret Service in Syria came to light.

The organization responsible for attacks and known as Emni in Arabic had planned for the self-proclaimed holy warrior from Bremen to be sent back to his homeland after training, to serve as a sleeper agent. They no longer needed Europeans in Syria, instead future assassins in Germany. Only in passing were the videos mentioned in the media.

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Thrown out with the bathwater

Why subjective perception in film and video really matters

When answering the question of what subjective perception is and could be, one of Switzerland’s most popular daily newspapers had bemoaned the fact that – during the last few years and not least because of YouTube – films and videos were now (quote) “… mercilessly subjective and mercilessly random …” and had lost most of their effect. I beg your pardon? My related comment in this article: this perception is rubbish and an old hat!

Those hammering answers such as these into their computer keyboard not only hinder the knowledgeable person from gaining an insight into the reality of current trends in moving image communication, but also only permit conclusions about their own lack of expertise:

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Edit and manipulate?

Editing video and film correctly (4/4)

If we believe the demagogues and the theory of film, the moving image is the very most dangerous of all media. The killer argument why this is true: a film or a video has no final form before a large number of different settings have not been interlinked.

As opposed to a photograph (at least before Photoshop existed), this link, incurred during editing video and film, offers hardly controllable options of manipulation.

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As a formal principle

Editing videos and films correctly (3/4)

Like all film disciplines, editing videos is a trade with the potential of an art. Trade and artistic aspects of film editing can also be viewed from a purely formal aspect. Editing which is governed by high formal principles turns the effect of the film image into a style principle.

Editing as a formal principle is not only met (excessively) within the realms of art and experimental films. Alternating with further editing principles, the formally influenced cut can be found in almost all films and videos:

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Changing space and time

Editing film and video correctly (2/4)

During the pioneering times of the film, editing film was limited to cutting the necessary events in their chronological order as required for the narrative. In this case, excitement could not be created by cutting but only by the content of the narrative. Film cutting served reality.

As early as 1901, James Williamson went a step further in his film “Attack on a China Mission”: He discovered that the viewers also let film cutting guide them across larger leaps in time and space if an identical object or person was involved in the setting before and after cutting. 

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