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Marketing Communications using Film & Video

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Gorillas and Octopuses

Viewing films and how cinema works in your head

The process of viewing films begins in the director’s mind and ends in the viewer’s head. But what happens before a film reaches its destination in a spectator’s mind is quite amazing. Those of us, who talk about film, commission films or make films for a living, should not only continuously strive to create better films, but of course also contemplate how films are perceived.

This article isn’t about film-set anecdotes or creative processes, storytelling or dramatic narratives. For once two covert protagonists takes centre stage, without which viewing films – and I’m sure no one would contradict me here – would be impossible: the eye and the brain. Even though research and modern technology have now made it possible for us to view a film with our tongue. But before we explain how seeing with tongues works, let’s take a leap back and start from scratch, to where it all begins, at birth.

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Why simple, when you can make it complicated

As a video maker your client needs to make only one decision

Rumour has it that for a video maker, producers solve the problems they bring on themselves. Of course this isn’t true. It can often be the case however that a client talking to a self-proclaimed film expert is left feeling like the task of producing a video is nothing short of rocket science. I say: A client really only has to decide one thing when it comes to making a film or video. No more and no less.

Here are some basics for filmmakes: There are three ways in which a film project can be conceptualised: A video 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. This decision is not a super-hot topic, but should be a priority, because the success of the video then depends on choosing the relevant agency or production partner.

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“Frechmut” and Films

Jörg Buckmann: «It probably helps to be a bit of an extrovert»

Jörg Buckmann has not only launched a meteoritic career as an unconventional entrepreneur and in-demand speaker. He is also known for coining the term “Frechmut”, which has worked its way with full force into the German vocabulary. “Frechmut” according to Buckmann is a cocktail of the German words Frechheit (cheekiness), Mut (courage), Leidenschaft (passion), Ego und Tatkraft (drive). Along with its inherent addictive nature, of course.

In real life Jörg Buckmann provides practical support for businesses when it comes to employer branding and HR marketing. Before his switch to freelance he worked for many years as head of human resources. In order to attain his goals, Jörg Buckmann has always relied on videos – which of course tend to include a healthy dose of “Frechmut”. In his interview with Videothink, he explains how the moving image can be a valuable asset to communication.

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The truth doesn’t lie in the middle

Making films means making decisions

Making films is in fashion. To mark Videothink Blog’s one-year anniversary, we’ve decided to calculate the hind legs off a donkey. We wanted to find out how many decisions have to be taken when making films and we weren’t half surprised by our findings.

There’s only one thing in life that’s truly important and that determines all else: The ability to ask the right questions. And finding the right questions, that’s a tough one: They can only be asked, when distinctions have been made beforehand. Apples are different to pears. Equal things have to be viewed as equal, unequal things, as unequal. When it comes to film, this is almost impossible. We tried it anyway.

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How to avoid an off-putting voice-off

Off-Voice and Off-Commentary: What you need to know

Off-Voice and off-commentaries don’t always necessarily improve the quality of a video. They can however often make it worse. A viewer is generally very forgiving. But not when it comes to a narrative voice in off. Here he won’t think twice about exercising his right to make good use of his time…- he chooses to click away. This can be avoided.

This article provides a practical checklist and guide for the correct and professional – and consequently effective – use of voice-off and off-commentary. It is directed at both advert, image films and webvideo creators and at those who commission audiovisual productions for marketing and communication.

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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

Webvideo: How to ensure it has a longer than 3-second lifespan

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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