Product Film

A product film puts the main focus on the product’s and services’ unique selling point. Comprehensive information, depth in emotions and a sense of story is orientated to the target’s previous knowledge, the market environment as well as with the distribution channels. Informational sequences are often closely linked with the presentation of the benefits of using the product or service.

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. [...]

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 [...]

Checklist: Storytelling in Sponsored Films and Videos (Part 2)

Once the decision to tell a “real” story has been made, the creative struggle starts when working on the script. This contribution names the 10 most important items for successful storytelling in a commissioned film. They both help to improve the narrative quality and to support the evaluation of the appropriate agency. [...]

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. [...]

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. [...]

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: [...]
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