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.”

How much does a video cost?

Your car dealer knowns how much a film or a video costs. Namely, exactly the same as a car! That’s why you should ask the representative of your preferred dealership. You will be faced with the same problem as in film: a Rolls Royce Ghost does not cost the same as the tiny Nissan Micra. Because not all cars are the same. And not all films are alike. [...]

The perfect film and video briefing

This checklist is an exclusive compilation of documents from the advanced training workshop entitled "The Perfect Briefing" for clients of Condor Films AG. It cannot be taken to be universally applicable. Depending on the size, type and complexity of the planned film or video project, customised changes and adaptations may be required. For image films, product films, web videos and other moving image communication products for marketing purposes, formulating the initial situation and the task correctly and comprehensively is an important basis for successful collaboration with film production companies. [...]

Kristian Widmer: »Taking risks would be highly unprofessional!«

The newspaper Tageswoche has posed the question as to the significance action cams have for professional film production. videothink BLoG supplemented this interview on this topic with Kristian Widmer, producer at Condor Films, with an overview of the key data about the two currently most important action cams. Moreover, at the end of this article you will find an addition (as of February 9th 2016) with the first available information about the EagleCam that has been developed by the Fraunhofer-Institute. [...]

Colour psychology in sponsored films and videos

It’s not without reason that colours and film have something important in common: neither can exist without light. Research on perception and psychology proves that the impact of colour in a film is much more than a physical niche phenomenon. The knowledge that the colouration of a film is much more than a question of fashion or personal taste is lacking. [...]

Commercial for an app

Four objectives are defined at the time of order assignment: The product itself, the App, is still in its early preparatory stage of development. The App’s testing stages and the time of its go-live cannot be determined at the start of the project. Various teams and different hierarchies have to be involved in the project on the client’s side. Announcements and rumours in Internet forums state that the technical specifications will be modified by the respective providers on all important download platforms, which may possibly also affect the optional integration of moving image elements. [...]

Image films are no chewing gum for the eyes!

Films per se cannot work without viewpoints and perspectives. It is all the more astonishing that customers and film productions again and again forget to define this perspective right at the briefing stage and properly unfold it on the basis of the story and genre. videothink blog shows a solution to this problem [...]

The image film which served as a product video

Admittedly, how you name a film does honestly not make a sponsored film better nor does the title disturb the audience. The crux of the matter is what the producer deduces from the term based on the film title when the project request is submitted and collaboration commences. [...]

Voodoo Accounting vs. True-Cost Prizing (Part 2)

The price for a marketing campaign with moving images is of course simple to find in the total calculation. But it becomes more difficult if a budget is understood not just as a necessary evil and simple costing factor, but rather as a blueprint for a film - and you, the client, want to take a look behind the scenes. We have taken it upon us to put together some brief instructions for beginners about calculating costs for film and video: [...]

The ABC of Project Work in Film and Video: Not sexy. But essential.

The French film pioneer Abel Gance (1889-1981) is said to have stated that the task of every filmmaker is placing a sun into every image. However, a director can only achieve this when he is able to rely on organisational support. Filmmaking is team work. And, frequently, a logistical nightmare. Not only image and product films, but even web videos are surprisingly often subject to prototype character. Commissioned films share this property with feature films. [...]

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. [...]
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