Archive for New Jersey Video

Are Audiences Stupid? Why Dumbing Down is a Dumb Thing to Do

In my decades-long video and meeting production career, there was one phrase that sent chills down my spine:

“Close enough for government work.”

This was another way of saying, “Good enough for those stupid people”, or “This audience doesn’t deserve my best work, or “I want to go home.”

What it said to me about that employee or colleague was that he or she didn’t care– about the audience or their own integrity. And that shortsightedness came from a stereotype of the average viewing audience: They’re impatient, stupid, and need everything spoon-fed.

Wow.

I mean, wow.

Is there any chance that these producers were right? Simply, are audiences stupid?

Look in the mirror. Are you?

The answer is no. Just because an audience doesn’t know the difference between a Red camera and a DVcam; Klieg lights vs. Kino-flo’s, or iambic pentameter from Mother Goose doesn’t mean they don’t know what is good. They are the audience. They are the biggest group of critics around, and they know what they like.

They like stories.

In Hollywood, they approve with their dollars. In business, they approve with action, commitment, or a bit of both.

They are us; we are they– if it’s too complicated for us, its too complicated for them. If it’s intriguing to us, it’s intriguing to them.

Examples? Christopher Nolan; Orson Welles; M. Night Shyamalan. Their work challenges the audience and keeps them intrigued.

Corporate examples? Videos that don”t preach, meetings that don’t pander, speeches that reduce the PowerPoint to clear, illustrative, intriguing pictorial elements.

Why simply say “We need better customer service” in a video, when kids in a Lemonade Stand can better or more arrestingly tell “the story?”

Why preach about miscalibrated machining equipment and the resultant costs when you can produce a film-noir-like mystery?

Why have the CEO of a corporation sit at his or her desk and lecture on building brand loyalty when interviews with real customers can make that case more convincingly and more humanly?

It’s the story, stupid.

Even the stupid audience knows that.

Great Video Installation Ideas

Video installation “Spiegelbilder” TEST from urbanscreen on Vimeo.

Take a look at their other installations as well.

Just Because You Don’t Get It, Doesn’t Mean You Shouldn’t Get It.

I admit it. Despite being an early adopter of the web (I’ve had the same url’s since the mid-90′s) I misread a couple of things.

I didn’t think information could come in spurts as short as a tweet. I forgot about something called telegrams.

I didn’t think about the web as a social place. Yet I’m as old as Walt Mossberg and used to hang out in the same “forums” on Compuserve and The Source.

And I didn’t see it as the ultimate distribution tool for video…. well, I did, but I didn’t expect it to kill off DVD’s and cd-roms. Now we urge our clients to create video just for the web– video that doesn’t even have to go “viral” to do the job. Just find your niche.

A lot of potential users of video on the web don’t get it, so they don’t use it.  They can’t understand the technology, or can’t envision a world beyond cable TV, DVD, or even giant sales meetings. And a good video might cost the same as a basic website, so they put the horse before the cart. These days, you need both– they are synergistic beyond belief.

So you’ve got to believe in the potential of what you don’t know– even if you can’t see what’s in front of your nose.

You can’t be aware of everything. But you can rely on the expertise and experience of good consultants to help point you in the right direction.

Brien Lee (that’s Brien with an “e”, in case you want to call or write. Really, we can see the future– we think.)

Video Viewing for a Happy July 4th (Part 2)

Video Viewing for a Happy July 4th (Part 1)

Bad Idea #2: Not Budgeting for the Video

If you are a corporate marketing services buyer, you might already be budgeting for video. But if you are a marketing manager, or sales manager, or fund raiser, perhaps you aren’t. Meeting planner? Sometimes. Training Department. Yes, probably. Really, every situation is different.

Throughout my career, I’ve heard time and time again, “We didn’t budget for this…”, as if that was sufficient justification for me to cut prices.

But of course, as the exception, you know it doesn’t work that way. When there’s a line item foer the kind of thing we do in your approved budget, things move along a lot faster, and without additional justification to upper management. So you’re good to go, the minute you’re ready and the demand is there. (Your bosses like to see action, after all… how does that go– “Look busy”?)

Budgeting a video is a tricky process, because it’s all based on the amount of footage you shoot, and the kind of footage you shoot. Controlled, short (one or two days) shoots make for controlled, reasonably fast edits… perhaps this is a new product video and it’s mostly close-up tabletop work.

A history of the company, or a plant tour, or an overview of the entire operation may be a different story. Multiple shooting days, or weeks, combined with a desire to tell the best story ever about OUR GREAT COMPANY, Inc., will conspire to drive the price up. Not unreasonably, mind you– it’s all about the time it takes to do the job.

I’m convinced that professional buyers know what professional video producers and agencies need financially to do a job that meets the buyers’ expectations. I’m also convinced that when the project has not been budgeted for, they will find it necessary to “negotiate”. The problem is that this may eliminate the most credible and accomplished vendors. The  buyer is willing to make that sacrifice because they don’t want to go to the boss with an unbudgeted expenditure, and the lower the expenditure, the less the job impact. But what is sacrificed?

What about the positive impacts on your career? When you hire the right creative video producer, you’re often on your way to having a major message impact on your company (really, call and I’ll give you examples.)  And that can mean big things for you. Budget shouldn’t get in the way. And it won’t, if you’ve thought ahead.

The smartest buyers I’ve worked with investigate the cost of various kinds of projects before budgets are submitted. Granted, for the production company, that might be frustrating because it can mean a 4 or 6 month wait before anything gets going. But when it gets going, you won’t be playing a game of sticker shock driven ” I didn’t budget for that”, “well, maybe we can cut out some graphics”, “can you do this cheaper and we’re pay you more on the next job”, et. al.

You can do the job that will accomplish your goals, get you applause and recognition, impact the company’s bottom line, and impact yours as well.

That’s why we do no obligation creative proposals. We scope out the video or multimedia project or website or meeting, define as much as we can, and quote a turnkey “put it in the budget” figure.

You have to start somewhere. It might as well be ahead of the curve. That puts you a couple of major step closer to success.

The Kind of Video You Need in a Depression: The Tribute

When times get tough, and we examine what’s really important, we realize the importance of friends, family, people and places in our lives.

We take a hard look at the “things” in our lives. We’re quicker to make judgments, and pare back frivolous things, and conserve and treasure more those things that provide the most comfort and respite. For some, they must have books. Others, perhaps movies or music. Some people must have live theater. We make our choices, we make adjustments in our budget, and we we’re happy for what we have.

This past few months created occasions where I realized the importance of one of my favorite kinds of video: The Tribute. “Tribute” is an all-encompassing name that essentially means some form of life story, family history, celebratory story, or honorary review.

It’s what got me into the business. When my father turned 50, I produced a slide show. A simple, single tray click-click that was (however) carefully timed to a full soundtrack featuring his favorite music, recordings of family members past, slides and pictures and press clippings of accomplishments, and even a part narration from a very bad imitator of Howard Cossell.

100 people were in attendance, and I was stunned by the positive reaction. I repeated the technique (this time with two slide projectors and a dissolve mixer to make the picures fade into one another) a few years later for a college event or two, and finally for my sister’s engagement party.

All of these are still dragged out of the closet and rewatched some 40 years later (they’ve been transferred to video, of course). Less and less of the original audience can be in attendance, of course, making these showings even more special. Little did I know what kind of investment they would be– an investment that grew in emotional value year by year.

Nobody lives forever. In the case of my father’s 50th birthday, well, he was gone just 11 years later. My mother died just 5 years after the event. I’m so glad I created that show.

My mother and father celebrate Christmas in New York City.

Last fall, my brother, who has produced these kinds of videos since the mid 1990′s, called to say that he had a job he didn’t have the time to handle. Could I do it? I admit it, I asked: “How Much?”

But the how much is never the make or break in these cases. The customers (unless it’s a corporate tribute to a retiring executive) always think the price is too much, and we always think the hourly rate for the effort put into these is way too small.

Enter the recession.

The matriarch and patriarch of The Smith Family (we’ll call them) wanted to encapsulate their “story” for their four children and their dozen or so grandchildren. This was very proactive– they had an incredible wealth of pictures, and a dozen or so 8mm films no one had seen in ages, and in the case of the children (now in their 40′s and 50′s) and grandchildren, perhaps these had never been seen.

We took the approach of interviewing Mr. and Mrs. Smith. Theirs was a WWII romance, s New Jersey story, a suburban sprawl story, and it paralleled the story of the country tremendously. But mostly, there were their memories. Razor sharp, warm, and incisive.

I’m proud of the result.

Then in February, I turned 60 and for the first time ever, someone (my brother) produced a tribute video for me. I was blown away by the surprise, and even more blown away by his work.

Corporate videos come and go. This year’s “Exceeding Your Expectations” becomes last year’s news, management changes, the themes change, and the videos change. “More with the 90′s” becomes “Making it in the New Millennium”.

By families have more permanence. And yet in today’s digital world, who can make sense of, or even physically project, the film and slides and tapes of yesteryear? And beyond that, how do you make it a story?

I know how to– very well, in fact. As I pointed out– I’ve done it, and not just for families, but for corporations, civic leaders, and church dignitaries. Tributes focus on what’s best about people– their upbringing, their character, their accomplishments, their likes and loves, even what they learn from their mistakes. They become stories of character– and that is something companies should afford to pass along from department to department and employee to employee.

In the next few posts, that show the power of the Tribute– how it can emphasize love, prosperity, achievement, togetherness, and purpose.

Perfect for a recession.

Paul Harvey…. Good Day.

Two Paul Harvey stories.

I was working on the 100th anniversary meeting videos for Underwriters Labs. We were going through all of their historical media and found a film from the 1940‘s that was an overview of UL. The narrator sounded familiar. I said, “that’s Paul Harvey.” But we all agreed it couldn’t be Paul Harvey– how could you have those pipes if you hadn’t even broken puberty, we asked?

But it was Paul Harvey.  Already at least a dozen years into his radio career. And we were playing this film nearly 50 years after he had recorded that narration.  And this was in 1993! I’d do the math but it hurts my head.

And….

In 1969, I was the on-stage host, comedian, monologist for Marquette University’s Varsity Varieties, at the then unrestored Pabst Theater in Milwaukee. I did impressions back then. I went for the easy marks– the icons– Ed Sullivan, George Burns, Jack Benny…. Paul Harvey. Today’s audiences might now be quickest to recognize just one of those names… Paul Harvey.

Back then, he had two radio shows, a daily Tv commentary, regular appearances on the Tonight Show— and at 60 years old, he was barely mid-career.He was arch-conservative, had a distinctive voice, and was everywhere. But he was 60.

I made fun of him because I though he was out of touch and washed up.

But “Good Day” never meant “Good Bye”. Until now.

Hey, I’m 60. There may be hope yet!

“Custom Creative Content”: A Web 2.0 Concept that Makes Sense

If the buzz on the web is to believed, Custom Creative Content is the next new thing.

A Company's Vision or Sales Concepts must be transmitted on many different levels.

A Company's Vision or Sales Concepts must be transmitted on many different levels.

But it really isn’t. What it is, really, is a manifesto of a company’s need to shift it’s marketing into “Web 2.0″ mode– a credo of engagement, involvement, and discussion, all spurred by the use of various media methods to create interest in you and what or whom you represent (product, personality, cause, service.)

It includes web presence and interactivity, from blogs and podcasts, to video casts and regular marketing videos, all offered for free as in the form of valuable information that may or may not include your product or primary message. What’s important is what the customer wants to know. In the case of a brand, it may be the brand’s history or culture. In the case of a product, it might be how the product is made. In the case of a service, it might be getting to know the people who provide the service.

All this revolves around a MIX of media, from web based, to directly marketed or presented. A website, YouTube, a blog or a forum, even Twitter and photostreams (and slideshows- remember them?) But also a DVD, a direct (snail) mail, TV Spots, newsletters (web and paper), and viral campaigns.

It’s not enough to simply hire a web specialist, programmer or a video producer. Your consultant must know how all of these activities intersect. They must have been there, and know where next to go. They have to know your story and feel your vision. They have to be able to create content.

We’ve been doing that since we were kids. But we’ve been forward looking just as long. We’re no stranger to video, meetings and presentations, audio, streaming, blogging, or  RSS feeding. We listen. We analyze. We propose. We execute. All the media, all the details. We measure, report, respond, refine and enhance. We grow your page views, enhance your image, get you applause and earn you the response you require.

What is Custom Creative Content? It’s a story, on many different levels.

  • Level One: Concept. What is the plan? Who is the audience, where are they, what turns them on?
  • Level Two: Words. The blueprint to all else that will follow.
  • Level Three: media selection, based on the above.
  • Level Four: Design. Make sure there is a common look and feel to all your content.
  • Level Five: Creatively exploit each medium to its fullest, in light of your strategy. Testimonials? Interviews? Flow animations? Mind Maps?
  • Level Six: Place the messages where they will be found. Web-Centric? Direct? Mass media? Auditorium? Trade Show? Brochure, free DVD, YouTube?
  • Level Seven: Before paying for exposure, maximize your free exposure. Keyword optimization. Forum presence. Street Crews. PR. Speakers Bureaus. Viral Video. Word of Mouth.
  • Level Eight: Track the action. See what works. Modify. Your keywords. Your creative. Your media placement. Your web presence. This is the thing…. you can make changes– even in video– overnight.
  • Level Nine: Build on Your Success. Now, YOU’RE the expert. Be interviewed, appear on other people’s podcasts. Become the go-to-person locally or nationally on your subject.
  • Level Ten: Never stop listening and conversing. All of tis has to be two way, whether you hand type your own responses, use autoresponders, or virtual assistants.

In the advertising business, this used to be called a campaign. But an ad campaign was simple. This is a Hydra. This is Now. And this works.

What Are You Good At? (Seth Godin)

A good think piece from Seth Godin, one that helps answer the question, "What makes you guys at VideoStory different?"

When it comes to telling stories, we're the experts at the process. Or as Seth puts it, "Process, on the other hand, refers to the emotional intelligence skills
you have about managing projects, visualizing success, persuading other
people of your point of view, dealing with multiple priorities, etc.
This stuff is insanely valuable and hard to learn."

The domain knowledge– how to shoot, how to edit, how to light– is important too, but it's sort of the first level of entry. At 22 years of age, you know the domain knowledge. The basics.

At 60 years of age, or after a variety of project experience, startups, or life experience, you know how to think, strategize, and win.

That's the process…. an ability to see beyond the technical and look and create for the big picture.