Marketing Communications using Film & Video

Category: Know-how (Page 1 of 6)

Calculation after calculation Budgeting in film production
Film budget: Part 3 of 3

Calculation after calculation: Budgeting in film production

The saying so often repeated in football, can be applied here in the realm of communication with film and video too: After the film is before the film. As soon as a film is entrusted to its audience and the public, it doesn’t mean the job of a producer or production manager is done. That’s the real moment of truth. Not only when it comes to viewer ratings (or reproductions online), but also in terms of numbers and the all important calculation.

The success of a film or video depends on three things: Know-how, experience and talent. And that doesn’t just apply to the creative aspects of video production, but also to the organisational and logistical facets. Films are projects and have to succeed in terms of effect, but also comply with other parameters, such as quality, deadlines and numbers.

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Budget Numbers Calculation scheme for Film und Video (with example)
Film Budget: Part 2 of 3

Budget Numbers: Calculation scheme for Film und Video (with example)

A job well calculated is a job half done. In this article Videothink presents a calculation plan for moving image productions and explains in this second instalment of the article series on calculation for film and video further important basics when it comes to the all-important numbers behind a film or video.

A film budget is much like a blueprint for what you intend to create. The film producer Ruth Waldburger of Vega Film once explained in an interview that for her the film calculation – besides the script – is the most important basis for a successful feature film. Her reasoning: Calculation establishes which tools, team and how much time the filmmaker can dedicate to each step in the filmmaking process. In this regard, the way the numbers add up has an effect on every decisive step of the creation process.

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The competence to recognise incompetence in film and video
Know how to spot a lack of Know-How

The competence to recognise incompetence in film and video

There are no less than 1’354’000 businesses floating around the Internet today that profess themselves to be professional film and video production companies – and that’s in Europe alone. So how can you be sure to find the best possible competence partner for your image film or web video? Here’s a few tried and tested tips and tricks, based on the author’s 23 years of experience in communication and film and video.

The first step, when sizing up a production company, is to get a good look at the work they’ve done to date (Showreel), as well as researching their background and reputation in the business. If they pass the first elimination round – once you’ve talked numbers and weighed up cost estimates – and you get to meet the possible candidates in person, that’s when things get a bit more challenging for the client. Not because these introductory meetings could be awkward, but because many producers are extraordinarily nice people, with great communication competence and of course, blinding charisma. This has its reasons. “The ability to sell” is part

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Film budget: Part 1 of 3

Budget: Calculation before costing in film und video

The Greek word parameter describes a special group of variables in an equation. In film and video the solving of that equation leads to the desired end result. The variables along the way are for example the budget, the quality or the deadlines. When calculating the cost of a film project, the way in which these variables or parameters are dealt with determines the success of the project.

Parameters in the film business not only influence the end result, but also each other. Much like buoyancy and gravity maintain a plane in the air, parameters ensure a project remains in the right balance. Key figures and parameters are two different kettles of fish. While key figures is a term for a fixed value, parameters are flexible. Which in turn makes them all the more special and valuable.

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One way or another

The Right Decision: 7 Strategies for Film and Video and beyond

Decisions have a great impact on our existence. In both our private and professional lives we continuously face – whether we like it or not – a multitude of options that force us to decide one way or another. Videothink presents 7 simple, scientifically proven, tried and tested strategies for decision making.

Making the right decision is an essential part of the way we define ourselves and a key factor of what makes us individuals. For most people, making a decision means weighing up reason and emotions or to the contrary giving precedence to either the mind or the heart.

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The ABC of moving image creation

Basics: Why every film has four lives and not just the one!

Cats have nine lives. A film has four. Videothink explains the basics of how a film comes into being in the intersection between art, craft and equivalence of effect for filmmaker and marketing and communications with film and video.

Old timers in the film business know it. Films are easy to watch because they are everything but easy to make. And the clever ones among them also know that a film or a video doesn’t have just one sole existence, but four. They seize these inherent basics of the craft of filmmaking and turn them into an opportunity.

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5 Deadly Sins for Film Producers and Production Managers
Sinners and Saints

5 Deadly Sins for Film Producers and Production Managers

When someone has mastered the skills necessary for excelling at their job, the only factor that then remains to determine their success or failure depends on the amount of personal energy that person is willing and able to invest. Those who have reached this step of their career ladder are well advised to think outside the box from time to time and should aim to set the bar of reference ever higher when it comes to measuring their own performance. The same applies when working in film and video. This article lists the 5 deadly sins every producer or production manager should keep in mind and avoid committing at all costs.

The job of a producer or production manager is a demanding one: One that promises all sorts of adventures and can in general only be achieved in adventurous ways and not without the odd hurdle or detour. Those who have worked their way up to a leading position in a film production and can confidently say that they are cut out for the job, are reminded of the joys of filmmaking on a daily basis.

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A Guide to Narration and Off-Commentary in Film and Video
The Dos and Don'ts of Voice-Off

A Guide to Narration and Off-Commentary in Film and Video

Narration or off-commentary – the voice off-screen that accompanies the images – comes together to create a unity in film and video. That is why it is an essential aspect of the overall conception in moving image communication and should already be planned and thought out in a project’s scripting stages.

The final version of the off-commentary however only really begins to take shape after filming in the editing suite. One of the basic principles of off-commentary is to make sure the text doesn’t simply describe the image but instead complements or adds to the visual information.

During filming the camera’s main objective is to determine how to convey the message on a purely visual level. For the camera, the filmed subject should be the main source of information. With the off-commentary it’s a different story:

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