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Marketing Communications using Film & Video

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Best Wishes

Merry Christmas and a Happy New Year from Videothink

Wishing you a MERRY CHRISTMAS and a HAPPY NEW YEAR!

The next article on Videothink about “Making the right Decisions” will be published on the 4th January 2017. But before that we’d like to take the chance to wish you a all a Merry Christmas and a Happy New Year!

We look forward to seeing our readers again in the New Year.

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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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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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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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Picture Perfect

Stars in front of the camera: Rules on how to be photogenic

Not everyone and everything looks as attractive through a camera lens as stars and celebrities do. Those who are fortunate enough to have a camera-friendly appearance are described as photogenic. However: Some of us might be blessed with a natural attractiveness which seems to escape the camera lens, making us look a little less than fetching in photos, on film or video. This article explains why.

As the saying goes, the camera never lies. However, that being said, there is the odd inconspicuous-looking person who really shines through a lens. The camera works its magic on these people,  transforming them into stars and enchantingly charismatic personalities. Cameramen talk about how the camera loves an actor or actress, meaning they have the gift of being photogenic.

In film and video, as well as in photography, there are a series of tried and tested rules and tricks that can have a positive influence on the people or objects a camera is pointed at:

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Strive for Excellence, not Perfection

Production Value in Film and Video Production

The Abby Singer, breakdowns, production values, Martini Shots and Teddy’s A**hole aren’t the first things that spring to mind when you think of film. Every profession and every industry has its own curious jargon used by its integrants on a daily basis. Film is no exception here.

While most of the aforementioned terms (more about their meaning later) may be entertaining for clients, image films, product films and webvideos, they are not essential in film know-how. There is one term however whose correct understanding and usage is essential for every production involving communication through film and video: Production Value.

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Exclusive interview

Adrian Teijido, the man who shot Pablo Escobar (with a camera)

Adrian Teijido (53) is one of the most established Directors of Photography (DoP) in Brazil, working all over the world. Videothink had the opportunity to interview Adrian on location in Colombia, where he is preparing to shoot the third season of Narcos, the Netflix series about the infamous drug lord Pablo Escobar that is making headlines all over the world.

Adrian is a proud member of ABC.1 Besides his work for cinema and television he has also filmed hundreds of commercials.2 Even though the interview took place in the early hours of the morning in Bogota ahead of a busy working day, Cinematographer Adrian

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Business as usual

Communications with Film and Video: What a producer won’t tell you

In communications and in any business relationship what is said is important. Often what is written is even more important. But what ends up being really crucial is that which is left unsaid. And it can’t always be read between the lines. This article lists 10 things, a producer will rarely – or at least not willingly – communicate to his client.

Before a surgeon operates on his patient, he’s legally obliged to inform his subject of the potential risks. It’s different when it comes to film producers and video makers. The gap in knowledge here between those who provide and those who contract a service is in fact often times equally as vast as between a doctor and a patient. But when it comes to who says what to whom, when and how in film production, there are no set rules in the realm of the moving image.

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