Some of you may have noticed that the Comet Tale blog has been dormant for a little while. The reason being that we are going through a period of self-evaluation. Once the process is complete, we will have a new, sleek look and focus and will get back to producing wonderful blog posts for you to enjoy.
Cheers,
The Comet Tale Team
Comet Tale Productions is a Boston-based video production house. We hope that through this blog you will learn more about the behind-the-scenes of corporate video. |
Tuesday, October 8, 2013
Wednesday, September 25, 2013
Who even writes letters any more?
Despite the fact that everything about anything is
available on the internet, I have a soft spot for libraries. As Matt Damon says
in his Good Will Hunting rant: “you
blew 150k on an education you could have gotten for $1.50 in late fees from the
library.” While I don’t think a college degree is completely useless, there is
something to be said for the resources that are available to knowledge-seekers.
My most recent foray into the library has been for copywriting books (stay
tuned for some Comet Tale advertisement mock-ups).
Typically, I get the call number for one book, head to
the general section and browse through the stacks. It’s exciting to look
through the sheer number of books written on any given subject, and to come
across quirky books that don’t make the college reading lists but that have
character. Without browsing the stacks, I never would have come across the gem
that is Robert L. Shurter, Ph.D’s Effective
Letters in Business.
First published in 1948 and reissued in 1954, Shurter’s
book comes with all the trappings of the post-war, Pleasantville era. Just to
give you an idea of its tone, here are some excerpts:
“Today, the indented form is practically obsolete because
it requires unnecessary stenographic time for margins and punctuation.” They
actually used typewriters. How archaic. (writers’ confession: I actually have
three typewriters myself)
“For more general purposes, his language is called
Gobbledygook (the sound a turkey gobbler makes when it struts) or Bafflegab (‘multiloquence
characterized by consummate interfusion of circumlocution’).”
“Can your stenographers take dictation at the rate of 120
words a minute? I can—and I am eager to prove that such speed does not lessen
my accuracy.”
The parallels between the business
letter and the business e-mail seem pretty apparent so even though I read the
book for a fun look into the past, some of the advice was still quite pertinent
today. I won’t highlight everything, instead I’ll just mention two of the
points that Shurter brings up early.
When writing a letter, Shurter
recommends taking the “you attitude.” Rather than focusing on your own needs, phrase
your letter so that it keeps the reader in mind. The principle of content
marketing takes this idea and runs with it. Rather than use a blog to shout
your offerings to the world, provide the world with information that is useful
to them. Frame your posts in an entertaining and informative fashion that
imparts benefit upon the reader.
In addition, Shurter warns
against the perils of jargon. There really is no point in writing if your
audience will need to have several encyclopedias and reference books by his or
her side to decipher your text. If your epistolary constructions employ copious
amounts of legalese, medicalese, or any other –ese, you might as well write in
Greek. To connect with your readership, write like your readership.
If you have some free time at
your disposal, I would definitely recommend looking through Shurter’s text. Sometimes
customs of ages past can be re-incorporated to much effect in the present.
Tuesday, September 24, 2013
The Art of Marketing - Harvey Simmons
Last August, Comet Tale had the chance to interview
Evertrue’s Dean of Marketing, Harvey Simmons (@HOSimmons4). Amidst the quiet of the pre-lunch
crowd by the South Station food trucks, Harvey’s bright green pants made a loud
entrance. While some ascribe to the idea of “casual Friday,” Evertruers take
Friday as a chance to have a little fun and dress to the nines. Over the
delicious noodles of Bon Me (food trucks seem to fit well within the startup
mold with their quality, fast, and mobile service), Harvey began to discuss the
art of marketing.
Comet Tale: To
start with, could you just tell us a little about your marketing experience?
Harvey Simmons:
As I was going into my senior year, I worked for an agency in New York City
called Landor Associates, part of the WPP group and it was very much a big
brand play. You get to work with clients like Verizon and we did a big campaign
for West Point as part of our internship projects. But for me, I wanted to work
with something where you feel more closely aligned with the business. I think
the benefit of agency life is that you can work with and touch all these
different things but it’s cool to be on the other side—to be working internally
within a marketing department. I got the startup bug during my senior year when
I met with Mike Del Ponte, a BC alumnus, who went on to go to Yale divinity
school then went on to create this program for student entrepreneurs who were
particularly interested in social innovation and social entrepreneurship. He was
talking at BC about that and from there he introduced me to the concept of Branch Out which was essentially LinkedIn on Facebook. So I worked remotely in Boston
for their office in San Francisco and created a marketing associate program
which extended to about 15 different campuses along with Kevin Hylant who now
works at SCVNGR, now Level Up. We worked to get the word out there, user
acquisition, and user feedback from a young student perspective from all these
different campuses and that really made me realize I wanted to work for a
startup.
I got the vibe of what their culture was like and it
seemed to be very fast paced: do now apologize later type mentality which is
super relevant for anybody who wants to work in a startup. The flexibility for
creativity and the getting stuff done mentality really appealed to me. I looked
around Boston, landed at Hubspot for a while and learned a ton. Met some
amazing people. I realized pretty quickly though that I didn’t want to do sales
so I started networking through things like Greenhorn Connect and through
things like MITX. Through that and through Techstars I connected with our
founder Brent Grinna and from there I’ve been with Evertrue for about two years
now doing very much an inbound marketing focused strategy. Hopefully now that
our products are becoming more fully fledged we can start doing more product
marketing.
Comet Tale: To
take it back in time a little further when did you know you wanted to do
marketing?
HS: I was a
philosophy major and I thought I wanted to be a lawyer. I was set up in logic
class and started studying for the LSAT and then I took a course with Gina
Caruso in the communications department. It was like advertising 101 and I just
fell in love with it. We did this project on D’Angelos and it was totally out
there and a little bit wacky but we had a ton of fun with it and I was just
like this is what I want to do. It’s that moment where the strategy meets
creative that I find particularly rewarding. How can you come up with the
research and understanding and the demographics and the market for the people
that you’re trying to help and then look at how can I really convey what our
company or our offerings or our products are going to do for them in a helpful
way. You don’t want to help everyone in the sense that if your product can’t
help everyone then you shouldn’t be selling to everyone. You want to market and
sell only to people to whom you can make a substantial difference in their
lives and make them happier and make them more successful and make them reach a
better understanding of who they are.
CT: Now that
you’ve been doing it for a couple years, what keeps you coming back? What
continues to fuel the passion?
HS: In some
capacity it’s been a transition from an interest in just marketing to an
interest in startups and the innovation economy here in Massachusetts. There is
such an amazing community in Boston that’s super open and very mentorship
driven. The amount of access that you can gain to people in this community and
the amount that people want to help each other out is surprising. I didn’t
expect coming right out of school that I would be able to meet so many people
who would want to push me further along in my career. Since I’ve graduated things
like Startup Institute and Intelligent.ly and even now General Assembly are
starting to take root in Boston. They’ve really provided this additional
learning layer on top of the pre-existing startup community that had already come
to be. You take a look at things like that and things like MITX that has
marketing hacakthons where you go in and talk to startups.
Marketing can mean a bazillion things. It can mean the
billboard you see on the road, it can mean that AdWords campaign when you’re
searching for something on Google. It can mean the positioning of me telling
you what my company does or an ebook. There’s a bazillion things marketing can
be and when you look at the big picture, that’s when it can be very interesting
from a startup’s perspective. Like what elements should they focus their
attention on given the stage that they’re at and that becomes almost more of a
question of business.
CT: How would
you compare the startup marketing community as opposed to the bigger agency?
HS: I’m a
little biased because I’ve spent way more time in the startup community than
the agency side and my agency side was an internship in New York City that
lasted like 2.5 – 3 months. I can really speak to the startup side by saying
that its strength is the amount of assistance that people want to provide each
other. It’s not like people are competing against each other because there
might be one startup like Smarterer that’s providing an online testing platform
that rewards people who understand different knowledge pieces through quizzes
and then you’ll get a company like Runkeeper that’s a personal fitness trainer.
Those two marketers can help each other without being in competition with each
other because they’re totally different things but they’re both trying to acquire
users. They’re both trying to improve their user experience, their design, and
they’re both working on that positioning. There are a lot of transferable
lessons that can be intermingled with startups that I feel agencies probably
don’t have as much of an opportunity to touch. When I said earlier the cool
thing about an agency is that you can touch all these different types of
companies and all these different types of roles, well as you progress in the
startup scene, the more you can touch different companies by talking with
different people and different industries. You might not be contributing
directly to their work, but you would be working with people who work on their
company’s marketing every day.
CT: Could you
talk a little about your Evertrue experience and how that’s been?
HS: It’s been
extremely rewarding and a great learning experience. I think there is a very
strong open culture that we have within our team that allows us to move faster
than other organizations would. When I was at Hubspot I was probably the 250th,
300th employee somewhere around there. To go out and just do
something that you really wanted to do would have been a lot more difficult
than it would be in a company that was 8 employees when I joined but now is 25.
That growth itself has been extremely interesting to see. What does a company
look like when it’s 8, what does it look like when it’s 12, what does it look
like when it’s 18, 20? It doesn’t sound like a big difference but 16 is two
times as many people as 8 so that actually ends up changing a lot of the
different ways a company is. In our case we maintained very much that friendly
family type of nature. We’re at a really exciting juncture right now. We
received our Series A from Bain Capital that allows us to support our mission
even stronger. Our mission is really: to build stronger relationships in
pursuit of a better world. I think even being a part of the process of coming
up with a mission statement is pretty amazing and it’s going to be a few
exciting years ahead.
CT: Startups
aren’t new to the ideas of innovation and change. Marketing seems to be going
through a big period of change itself with social media and social concepts entering
the picture. How do you see it changing and what do you hope to do with that?
HS: Hubspot
had this week their Inbound conference and had 5400 people in attendance there
which without context might not sound like a ton of people but it’s pretty
outstanding when you consider that this is their third or fourth year doing it.
People are starting to realize that we’ve already made this transitional shift
from being able to block out messages that come out to us. Really hard direct
marketing is no longer super effective unless it’s extremely viral and even
then it has a very short shelf life so what marketers have had to focus on now
is how can I make my prospect or how can I make my user or how can I make my customer
better at what they do? How can I make content that’s going to be useful for
them? And how can I now use these social channels to talk to them in a one on
one voice? Never before has it been so easy for a brand or a company or a
startup to really interact with a customer base so transparently and in such a
one on one manner. I think we’ve gone from direct marketing to this kind of
inbound marketing so you can maybe call outbound to inbound and I think the
next step is providing tools. So you’re going to see more and more brands
providing free tools like software and really solid information pieces that can
help their prospects or their consumers be better at whatever it is they’re
trying to do.
CT: If you
were to coin a term for this new form of marketing, what would you call it?
HS: Human,
maybe. It’s just something that was a really popular theme during Inbound, the
conference. How can we make the things that we’re doing less like machines and
more like people. That for me is the super strong driver and one of the major
reasons why I joined Evertrue early on. Fundamentally our platform is helping
people meet—not online but actually meet in person and actually have an
enriching experience through authentic communication which needs to happen more.
There’s going to be, I think, a really strong push to that and mobile’s only
been around so long. I don’t think we really know the power of it yet. We have
to look away from the devices a little bit. Portable technology might even
additionally change how we’re looking at everything internally at Evertrue.
We did a million step challenge where everybody in the
office, and we have a blog post on it, wore a little chip and for 100 days we tried
to hit a million steps. We almost all got there. It’s things like that that
were cool and that we can talk about and relate to. It’s like, how do we make
this big data quote unquote this buzz term, how do we make that human? How do
we make that not just numbers and quantitative but actually bring the
quantitative to qualitative? It would be mind blowing when it happens but we’ll
eventually get there.
CT: I want to
turn now to the reunion crashers video. I thought it was an engaging, fun
parody. Could you talk a little about what went into the creation of that?
HS: For us I
think we want to do more and more pieces of content like that. We decided it
was time to take a risk and do something like that. We honestly had no idea
what the response was going to be. We thought it was going to be strong. We
kind of tested it out before launching it by getting some feedback from
prospects and from customers and people who have had fun with us at reunions. We
tend to have a really fun, approachable team so it just matched really well
culturally for us and also as an internal piece we enjoyed it. I think it got a
lot of turnaround in the startup community too which was also fun but the
really nice thing was that it really spoke to our client base and the community
we’re trying to connect to.
CT: Did you do
that in-house or did you bring someone on for that?
HS: We did all
of the copy in-house. The screenwriting was largely done in-house but we did
have a producer/director [Courtney Petrouski] who helped with a lot of logistics
on the day of and we had an awesome videographer as well [Elan Alexenberg] who
took some killer shots and had some serious killer chops. I think it’s helpful
to have consultation but nobody knows the market than the company that’s doing
it so you can’t fake that. A lot of that has to come internally, particularly
if you have the young people and the people who are creative enough to imagine
those things.
CT: Looking
towards the future what are you looking to do with video?
HS: Everything.
I think we really want to always ask ourselves how can we incorporate video
into this messaging that we’re doing. Hopefully as our team gets bigger we’ll
have more resources and larger bandwidth to the point where we can do video for
a majority of our marketing pieces and even for our customer pieces or
onboarding pieces. We also use Wistia as our hosting service. We love those
guys. All along the way we want to be able to interact with people through
video because we think it’s extremely effective.
Monday, September 23, 2013
How to make the most of your film freelancer - the basics
The first question when it comes to using a freelance
crew for your corporate film is when to bring them onto the project. You know
your company better than anyone so you can trust your copywriting studs to come
up with a great script. Unless you have someone on your team who has experience
in the film world, bringing on the director, producer, and even the
cinematographer in the script-writing phase will give you a second set of eyes.
Your writers know how to script compelling copy, but involving the major
creative film forces (hereinafter referred to as the crew) early will benefit
the final product.
The crew can spot any major concerns early and suggest
solutions before too much energy or capital can be invested—such as suggesting
alternatives to car chases, explosions and helicopter shots. In addition,
involving the crew early ensures that everyone is working towards the same
product. While this sounds like a given, the more exposure your crew has to the
material, the more familiar they will become with your company, its message,
and its culture which ultimately results in a solid piece.
In order to create this unity of vision, communication is
key. The following items that should definitely be exchanged during the course
of communication about a project aren’t revolutionary by any means, but sometimes
it’s good to revisit the basics.
The more the crew
understands about the intent of the project, the better they will be able to
deliver on the day. Creating a team atmosphere will ultimately result in a
solid group effort. Some key points to make sure your freelancer understands:
(a) who is the intended audience? In all likelihood,
you’ve determined the personas for whom you’re producing this project. Letting
your crew know the intended audience gives them the opportunity to do their own
research and understand the habits of that audience which in turn results in a
more effective film.
(b) what is the tone of the piece? Your crew will
approach a light, witty project in a far different way than a more meditative,
thought-provoking piece. Feel free to use a bevy of adjectives to describe the
feel as the more precise and thorough the description, the more vivid a picture
your crew will be able to produce.
(c) where is the piece going to be displayed? A project
that goes out in an e-mail blast will have a different feel than an explainer
video on the front page of your website.
(d) where is piece going to be filmed? For a high-budget
project, pre-production will encompass multiple days of preparation, scouting,
and planning. If you’re working on something smaller, perhaps filming in your
own office, it is still in your interests to have a day where the crew can see
the physical space. They will look for where they can draw electrical power,
where the sun will travel throughout the day, which areas offer the best visual
potential, and other factors that are best determined at the physical location.
While it is important that the crew know what you’re
thinking, it is just as important that you know what your crew is thinking. Some
things to get from your crew are:
(a) some visual samples that represent something close to
their vision. Not to be confused with a freelancer’s reel or portfolio, the
samples should consist of some images that approximate the look and feel of
your project. Some elements that you can begin to discuss before the day of
filming include the lighting, the general composition of shots, and the overall
pace.
(b) the schedule for the shoot. The amount of time
necessary to film a project depends upon a number of different factors. The
more crew members, the faster they will be able to set up. Scheduling the day
with ample time to set up allows for the crew to work in an efficient and safe
manner. Allotting enough time for lunch is also a key consideration when
scheduling the shoot.
In the end, it all comes down to the flow of information.
The more the freelancer is involved with and understands your creative team,
the better your project will become.
Friday, September 20, 2013
Film Breakdown Friday: Werckmeister Harmonies
Introduction
Yesterday, I wrote about how turning your video project
into a film project is a mindset. In order for your video to move into the
category of film, you have to invest the majority of your effort in
pre-production and story. The film is made long before the first day of
shooting.
Today is the first post in what will be a weekly series
of film breakdowns. I’ll pick a clip from a movie, or corporate video and break
it down into a couple bite sized chunks that you can consume and incorporate
into your next project.
If you haven’t had a chance to see many foreign films,
brace yourselves for this coming clip. Most commercial American movies have an
incredibly fast paced editing rhythm. The following scene from Béla Tarr’s Werckmeister Harmonies occurs over the
course of one long take. In order to pull up the English subtitles, you have to
manually activate them by selecting the CC button in the lower right hand
corner of the player and then selecting English subs.
Take a look at the scene:
The Breakdown
Béla Tarr is an extremely intentional director. His
famously long shots are planned well in advance and he is able to see the movie
in his head before it ever hits the silver emulsion of 35mm black and white
film (and yes, despite films decline in popularity, Tarr continues to shoot on
it). And that is what separates the directors of great films from the masses—the
ability to take a strong personal vision and bring it to life on film.
The reason I picked this scene as the first film
breakdown Friday is to show an incredibly intricate scene so that I can talk
about storyboarding. Sure, anyone could set up a camera and have it run for
eight and a half minutes but what makes Tarr’s scene from Werckmeister so powerful is the interaction between the camera and
the scene itself. The camera is not a passive observer. It is an active
participant in this scene subtly attuning the audience to the emotional tone of
the moment.
I want to break down the scene into smaller chunks to show
how the camera works to tell the story. There is a short bit of the beginning
that this Youtube link is missing that gives a sense of the space before
Valuska’s entrance. But as Valuska enters the bar, his movement opens up the
frame from a tight shot of him and one of the drunks to a very wide shot of the
entire empty bar. He now has a stage on which to perform his opening
philosophical and astronomical monologue.
The next shift occurs as he corrals the barflies into
position as the sun, earth and moon. The camera like our attention moves in to
focus on Valuska and his model solar system. The proximity of the camera to our
speaker gives us a sense of connection and safety as he twirls these drunken men
around in circles. But the revelation of an eclipse results in yet another
shift.
To the ancients, an eclipse was a terrifying event—day turning
to night. With no scientific explanation for them, they determined that it was
a bad portent. At first the camera moves in to a close up to reveal Valuska’s thoughts
as he expounds upon the darkness of the eclipse, but as he proclaims the
complete silence that arrives, the musical score enters and the camera begins
to pull back. This move is the most powerful of the scene as the meditative
silence of Valuska, the haunting beauty of the solo piano and the wide,
high-angle shot all work in harmony to convey a sense of loneliness that the
darkness brings.
But the eclipse cannot last forever. As the moon moves
away and once again reveals the bright warmth of the sun, the camera too
returns to its position of safe proximity. As it settles, all the men of the
bar take up the waltz and for the first time in the scene, Valuska leaves the
frame granting full autonomy to his drunken solar system.
In the closing moments, the bartender urges everyone to
go home and the floor clears resulting in an almost cavernous emptiness. Valuska
walks through the void and as he leaves, tells the bartender that “it’s still
not over.”
Takeaways
Two of the key takeaways from this scene are (a) in order
to execute a complicated choreographed scene, you have to plan everything in
advance and (b) use the camera’s positioning and framing to enhance the meaning
of your shot.
(a) The amount of planning that must have gone into
filming this scene was immense. I’m willing to bet that the actors all
rehearsed their movements many times. The cinematographer and gaffer watched
those rehearsals like hawks and developed their lighting plot accordingly. But
before anyone even set foot in that bar, Béla Tarr mapped that scene out in his
head and put the major moments down on paper in storyboard form.
When planning to shoot your corporate film, make sure to
take the time to think out every shot and how it will all interact together in
the final product.
(b) The camera can be a powerful ally. The framing and
composition of your shots will have a large impact of how the audience reacts
to the image. Close up shots bring the audience close to your subject and allow
them to see minute emotions. Wider shots give more of a sense of the setting. The
size of the subject compared to the setting can convey a number of different
things. The small figure of Valuska in the bar during the eclipse gives a
profound sense of loneliness whereas the more crowded and closer view of the
spinning barflies is safer and more comforting. Pay attention as well to the
angle of the camera. A straight on eye-level shot is most common but if you
move the camera along the vertical axis, you can elicit different responses. A
low-angle shot where the camera looks up on an individual typically connotes
power and the opposite high-angle shot connotes weakness.
As with any “rule” in film, everything is dependent upon
specific circumstances at hand. But the way to ensure you are striking a chord
with the audience is to know why you are implementing any technique. So long as
you have a well-thought out reason for your actions, the audience will realize there
is meaning even if they can’t specifically pinpoint what it is.
Labels:
art,
Boston,
Boston video,
Boston video production,
Comet Tail,
Comet Tale,
Comet Tale Productions,
corporate,
corporate film,
corporate video,
directing,
film,
filmmaking,
production,
theory
Thursday, September 19, 2013
Corporate video vs. Corporate film
“I don’t make movies, I make films!” – Billy Walsh from
Entourage
Film is a magical and dying medium. Only Kodak remains as
the last bastion of motion picture film as Fujifilm announced the
discontinuation of the vast majority of its film products. Celluloid has a
certain panache and glamor associated with it. The silver screen; the golden
age of cinema. Clark Gable, Claudette Colbert, Cary Grant, Audrey Hepburn—all of
these names and personas are immortalized on physical 35mm prints. The term “film”
when referring to the work of art rather than the physical stock, has come to
connote a certain degree of quality, craftsmanship, and artistic merit (One Flew over the Cuckoo’s Nest, film; Transformers, movie).
In the corporate setting, video seems to be the buzzword.
Personally, whenever I hear the phrase “corporate video” I cringe a little bit.
To me, the term “video” is associated with home videos recorded on grainy 8mm
film or a little handycam from Best Buy. Society is moving in an increasingly
more visual direction. Our phones can now capture moving images. Vine and
instagram allow for micro-sized movies to be shared with friends and family. As
a result, it’s easy to whip some video content together on a phone and start
creating a video footprint.
There is definitely a place for iPhone videos and Vines
in marketing strategies. After all, they’re inexpensive to use, extremely
portable and match the style of most normal social video content. At the same
time, one can’t devalue the more polished side of the visual spectrum. Rather
than think of a 30 second explainer video as a corporate video, approach it as
a corporate film. A film tells a compelling story in a visually stunning way—in
a way that connects on a deep and emotional level with audiences.
The best films are the ones with the best stories. Don’t
think of film and fear Michael Bay sized budgets. Instead think of touching
indie classics like this past summer’s The
Way, Way Back. With a great story and a cinematic mindset, you can create a
great corporate film.
Wednesday, September 18, 2013
If it doesn't push, and it doesn't pull...
Every once in a while an embarrassing moment serves as a
great teacher. Last night I was filming an event put on by VentureFizz and
NextView Ventures—“designing product experiences that win.” I had my two
cameras set up. One running off direct power and the other on battery. I knew
that I was going to need to swap batteries partway through so I switched
batteries between the networking portion of the event and the start of the
panel to give the spare as much time as possible to charge.
As the power on my camera began to run down, I looked for
an opportunity to break away for a moment to grab the battery on charge. I
seized my moment and scampered to the room in which I had staged my equipment
and found the door was closed. I pushed on the handle to no avail. It wasn’t a
push door, so I pulled on it. Nothing. I immediately jumped to the conclusion
that the door was locked. If it won’t push open and it won’t pull open, it has
to be locked right? As I stood outside that door staring at my one spare batter
(you can never have enough batteries), a woman next to me chimed in: “It
slides.”
It slides. I easily opened the door and retrieved my
battery. On the walk back to my camera, I realized how simple the solution to
my problem was, but I was constrained by my perception of doors and couldn’t
fathom a sliding one at that moment. At rest stops across the country, the
doors are all labeled push or pull so that weary travelers don’t have to
struggle trying one method in vain. In my mind, those were the only two options
for how to open a door. Sometimes, when the two most obvious and seemingly only
options don’t work there might be a third very simple option that gets overlooked.
Has there ever been a time when you found a third
solution to a problem that seemed to have only two answers?
Subscribe to:
Posts (Atom)