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

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. 10 things a producer would never tell you. [...]

Viewing films and how cinema works in your head

In less than a 100 milliseconds our brain tells us what we’re seeing. How we see and how the necessary nerve impulses are analysed and processed, surpasses the dimensions of any cinemascope film and is more exciting than any Netflix series ever could be. This article shows, how we can see with our tongues and explains why octopuses make bad film directors. [...]

Video Production: Why Your Client Needs to Make Only One Decision

There are only three ways in which a video or film project can be conceptualised: A film can be created in the form of a „filmic register“, it can be „made into film“ or „fictionalised“. The end result differs greatly in each of these processes. That is why for the client - the decision of which of these three forms applies to the film project they commission - should stand in the forefront. [...]

Making films means making decisions

Making films isn’t always easy. Especially considering that during creation and production of every film and video, there’s a constant stream of new questions that need to be answered. To mark Videothink Blog’s one-year anniversary, we wanted to find out how many questions there really are. And we weren’t half surprised by the results of our study. [...]

15 points every good film script should contain

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. [...]

How To Communicate Effectively, Clearly and Simply

It is not important what is communicated. But what is understood. One of the single biggest problems in communication is the illusion that communication has taken place. Videothink presents checklists for film and video to communicate clearly and simply: Martin Epplers "C.L.E.A.R. formula" and the not less interesting and helping "Core statement principle". [...]

Why subjective perception in film and video really matters

Films and videos are filmed by cameras or generated on computers. Either way, it’s always about working with image sections. The term image section already says it all: with a detail, or a part of the whole. With that and that alone, films and videos already have a perspective, whether intentional or not. Just like photographs, a film or video is not and never able to reveal objective reality. [...]

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, offers hardly controllable options of manipulation. [...]

Editing videos and films correctly (3/4)

Irrespective of the type of definition and independent of genre, talent and the cutter’s know-how: film-related rhythm cannot be equated with mathematical precision. The rhythm of a film is shown by its cut, but not exclusively so. A film’s rhythm is also determined by the way the camera is guided, the actors’ movements, the director’s orchestration, yes, even the language tempo of the voice-over commentary or the means of interpretation of the dialogues and naturally, also the music. They all contribute to the rhythm of a film being more than the mere total of its individual components. [...]

Editing film and video correctly (2/4)

Editing and parallel editing can only be applied successfully when the cutter or the editor observe the dramaturgical film requirements. The hereby assumed artistic talent, combined with experience and deep knowledge, is one good reason why films are not cut, but edited. [...]

Editing films and videos correctly (1/4)

This four-part article summer series on the trade of editing begins with the most important principles of film cutting. Film cutting can be hard like an unexpected slap in the face or soft like a loving look. It can change time and be a complete contrast to movement in front of the camera. The cut can guide the eye or hinder us from seeing something. Therefore, editing films and videos is more than a mere trade, it “additionally” incorporates the potential of a form of art. [...]
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