Recommended
Recommended
More Related Content
What's hot
What's hot (20)
Similar to Authentic Visual Messaging
Similar to Authentic Visual Messaging (20)
Recently uploaded
Recently uploaded (20)
Authentic Visual Messaging
- 1. @MITCHELLPOWERS • Documentary-style producer/shooter/editor • U.N.O. to S.C.A.D. • DSLRVideo for Non-Profits • VirginiaTech: Film toVideo • Senior Multimedia Producer, UVA • #Casemmw
- 3. MULTIMEDIA WE MAKE • Photography • Documentary-style shorts (Profiles and Stories) • Animation • Super Shorts • Video for websites -Texture, Gif’s, Looping MP4
- 4. AUTHENTIC MEDIA • Inspired by the documentary process • Real stories in authentic voices • Deliver marketing messages, yes, but through the voice of a community. • How authentic can we make it?
- 6. START HERE • Audience is juniors in high school, top ten percent. • Research told us our audience wants to hear from students, in video, through mobile. • Creative team developed in roundtables and storyboards. • Video team responsible for 12 videos, 6 each. • Cast students through recommendations, word of mouth, Linkedin.
- 7. THE NEW SCIENCE OFVIRAL ADS • Pulse the Brand - Keep it Authentic • Make a ‘cinematic social object’, a place to gather. • Give the viewer an emotion immediately • Hone the first 5 seconds, make a Hook. • Target and cultivate extroverts. • Exploit emotional dynamics, change the tone Dr.ThalesTeixeira
- 8. AN EDITOR’S PERSPECTIVE • Editor’s need choices and footage creates choices. • Cut to support emotion, story and rhythm. • Eisenstein and MontageTheory, the edit is the ‘nerve’ of film • Every edit is a chance for a new idea, a new emotion.
- 9. THE BUILDING BLOCKS OF VIDEO • Interview, edited loosely or aggressively. • B-roll shots,Wide, Medium and Close • Music, neutral or emotive. • Voiceover • Animation
- 10. PROCESS PASSION A Foundation for the Work
- 11. PRE-PRODUCTION • Pre-Interviews, Character ,Story Analysis, the Hook • Scripting, bringing in collaborators • Storyboarding • Shot Listing • Writing Interview Questions - Scripting in Reverse • Collaboration vs. One Person Band
- 12. PRODUCTION • Shooting Interviews • Shoot B-Roll, any specialty shots • Animation • Revisit and Revise the Story Assumptions.
- 13. POST-PRODUCTION • Collecting Assets • Rough Cutting • Fine Cutting • Screenings • Revisions • Export and Upload
- 14. SHAREABILITY • Quality, audio taking precedence. • Give them a hook in the first five seconds. • Tell them a story. • Emotion • Use your capital. • Consider shareability in pre-production.
- 15. DESTINATIONS • Facebook (8 in 10 adults) • Youtube for search • Vimeo for customization • Broadcast • Video-rich microsites • Instagram and Snapchat
- 18. BRING A PHOTOGRAPHER’S TOOLSETTOVIDEO Use this kind of textural video the same way you use photography, emblematic imagery that elicits emotional
- 19. SNAPCHAT • Younger audiences, Prospectives, Students,Young Alums • Conversational and Personal - Stories • Where students talk with each other • Ephemeral - lends to itself to event-based stories, you are there! • Takeovers - Connecting Prospectives with Students! • A great example is U. Michigan
- 20. INSTAGRAM • Used by 3 in 10 adults • Photography as a Social Object • Video is limited to one minute, many textural with text • Can include links! Location-based features • Personal fave for video is new york times • Took Stories from Snap and ran with it…
- 21. FACEBOOK • Facebook has its finger on the scale • KeepYoutube for search • Experiment with headlines and descriptions • Comments section is where audiences gather together
- 24. AFTER WATCHINGTHIS, I’LL NEVER LOOK AT SOCIAL MEDIA THE SAME WAY AGAIN • Experiment with your approach to EVERYTHING. • Reflect the emotion, get personal • What works with your audiences? • How can you help the audience connect? • Above all, Don’t Stand InThe Way!
- 25. CINEMAGRAPHS • Project began as airport ads • Looping, isolated motion makes a gif a cinemagraph • Repurposed documentary footage and photography • http://communications.virginia.edu/portfolio/richmond-airport
- 29. CASE STUDY: SANDY WILLIAMS • Student Profiles are a Spring-time concentration • Finding student stories is about your network • Think about the variety of prospectives • Find ways to create romance in the work
- 30. CASE STUDY:KEN ELZINGA • Professor profile • A beloved figure • Interesting, layered character • Two camera interviews for the students • Two camera effect with one camera?
- 32. WHO ISTHE AUDIENCE??? • Prospective Students • Students • Alumnae • Parents • Influencers
- 33. CASE STUDY: SECRET SOCIETIES • EMOT - Emotional Man on the Street • Interviewed 25 students • Key to have (the right) student intern on set • A subject that lends itself to some of our negative reputation, needed some finesse
- 35. B ROLL PROCESS • Stand on a chair! Get low, get low! • Can be challenging. • Wide, Medium, Close, take notes from Hitchcock. • Portraits. • Cutaways. • Getting creative with movement.
- 38. STORY PITCHES • Get them past “We Need aVideo.” • What’s the STORY. Is itVISUAL? • What can a video accomplish as opposed to other methods? • Internal politics can interfere. Sometimes you compromise. • DreamVendor was a win for both teams.
- 39. BRANDING It’s the world we live in.A source of ideas rather than restrictions. It is no longer a one-way process, however.
- 40. CASE STUDY: BRAIN IMMUNE • A difficulty story, worth telling well. • It’s worth working harder with non-native English speakers. • Find the thread of a story and balance with other goals. • First 1,000,000 view video.
- 41. CASE STUDY:WOMEN’S RUGBY • Ensemble Cast • Create character classes with interview style • Esprit de Corps • The evergreen student story: I found my place
- 42. CASE STUDY: ERIC STANDLEY • His Origin Story: Dyslexia, and a formative experience with the infinite. • Arts andTechnology. • It’s all about finding those good stories and storytellers. • Find people with real passion. • Visual stories make for great videos.