Concepts Every Producer and Client Should Understand
We call it Corporate Film School because, after a couple of decades of producing videos for top companies, and coming from a film school and broadcast background, we’ve realized that the basic (and fascinating) elements of film language not only help you make better videos but enhance the collaboration with your creative partners.
We were just working on a new episode of #corproate film school about Talking Head shots when this very momentous talking head shot was broadcast. Some notes on the King’s inaugural address:
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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 f
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