Imagefilm

The brand image film transmits a brands’ values: it turns expertise into an experience. For the image film to do so, it needs a creatively staged or a documentary approach. Usually a common thread builds up a story that ties in with a company-specific reference point from the viewer’s everyday life. “The image film visualises and transmits the company’s values. It turns expertise into an experience.”

Authenticity: Why good films should shine and even hurt a little

How to best deal with the areas of conflict that arise when striving for authenticity in image film or authentic product films. In this articles, Videothink shines a light on the complex, but just as alluring areas of conflict that often come about when trying to achieve authentic communication with moving image, authenticity in image films or authentic product videos. [...]

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

Pre-production can been done half-heartedly and shooting can either run smoothly or be a complete nightmare. From a production perspective there are many dangers that lurk in the creation of a film. It gets crucial or hazardous (but therefore all the more interesting!) in a different way, if you scrutinise the making of a film not from a production viewpoint, but instead from a perspective with the eventual effect in mind. In this case four single steps can be determined that can present the odd challenging hurdle or in extreme cases cut a film’s life short. It is essential for a filmmaker or commissioning client to keep these indispensable steps in mind. [...]

Production Value in Film and Video

Production Value sets the professionals apart from the wannabes. It's a clear indicator of experience, know-how and talent. A guide on how to optimise your usage of one of the most important terms in film and video production. [...]

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. [...]

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. [...]

Five rules for camera movement in film and video

Videothink sheds light on the topic of movement in films in a four-part series. The series culminates with five rules for camera movement which explain the criteria according to which movement should be used in moving image communication. No systematic, scientific measures are provided for the assessment of camera movement. However, it is agreed that 5 rules apply for camera movement for professional film-makers. [...]

Camera movement in film and video (Part 1)

Camera movement is a fundamental characteristic of the medium film. Nonetheless, a high degree of uncertainty frequently prevails as to how and when movement in communication with moving images should be applied, particularly in the image film and product videos or online videos. Videothink sheds light on the topic of movement in films and the film-related means of expression from diverse perspectives in a four-part series: [...]

Film cutting is dead. Long live assembly! (Part 2)

The remarkably quick artistic development of film can be traced back to the 19th century, and not just for the aspect of storytelling. Assembly itself also obtained its early constitutive capacity from this period: The literary realism of Flaubert, who used his words to force metaphorical significance out of insignificant detail, can also be referenced to film assembly. The same applies to the musical work of Beethoven, who created new emotional ranges by energetically extending, shortening and transforming rhythmic and orchestral structures. [...]

Film cutting is dead. Long live assembly! (Part 1)

Films are not nailed together with a hammer but are intelligently assembled or artistically joined instead. The power and potential of film editing lies in its assembly. It is therefore not surprising that many filmmakers deliberately do not speak of cutting but rather of assembling or editing. [...]

Winning a new customer segment addressing »Generation Y«

A company specialised in leasing of services wants to significantly increase its share of customers from the age group of people born between 1980 and 1999. At the same time, the company wants to become sustainably positioned in this target group. Simultaneously, prejudices and clichés regarding the segment as a whole are to be actively and openly addressed. [...]
1 2 3