We know - because many of our clients run in-house video departments within corporations –that the job is something of a high-wire balancing act.
On the one hand, you have a department full of creative producers and editors who want to explore and push boundaries with their work and make full use of their skill sets.
On the other, you have internal clients who are often not well-versed in film l
George Martin: “Location isn’t really a main problem at the moment”
Paul McCartney: “Breathing is, actually.”
Sure, Get Back is amazing on many levels but, setting-wise, you’re stuck in one big and then one small plain room for most of the 8 hours of the hit new doc series - (Peter Jackson’s [Lord of the Rings] re-cutting of the Beatles footage that was shot for Let It Be [1970
How do you find, hire and develop creative talent for an in-house corporate video department? How do you appeal to really smart, creative people when the job is within a corporate environment (not typically assumed to be creatively stimulating)? And how do you keep them motivated and sharp?
As sophisticated and creative video production increasingly becomes a capability that more companies
If just capturing scenes in the camera was all it took to make a great video, we’d all have a shot at being Fellini or Zhao. Editing, and its’ fascinating psychological effects, is what makes film narratives sing. But, maybe you don’t want to be Zhao or Fellini (why, are you busy?), you just want to make a video that is engaging and crisp. Understandi
If producers spent nearly as much time actually trying to cultivate it as they do faking it, we might see a lot more of it in corporate videos but authenticity is one of those qualities, like charisma, that is devilishly difficult to define, much less achieve. Yet, it’s considered to be among the most important characteristics of a successful appearance in a video. Almost everyone I talked to w