A Good Corporate Video Sample

corporate video

The Lone Shooter: One day shoot, 2 day edit

I think this is a great example of a corporate video combining many of the chapters of Run ‘n Gun Videography–The Lone Shooter’s Survival Guide including:

  1. Message
  2. Using local talent
  3. Interviews
  4. B roll
  5. Music

The Message

The message is clear by the content of the narrative (which was distilled from about 40 minutes of interview), but also by choice of B roll. Yes, the use of relevant B roll shots is standard in editing this type of interview, but additionally there are shots in there one might not realise are important–unless you are in this business and know what you are looking for. And for those potential business clients, they will have seen what they are looking for: the top tier German machines in use at the plant. That’s why you see their names prominently in some of the shots.

Local Talent

As to local talent, in this case we used the co-managing directors who are brothers.

To my surprise, it was the younger brother (who appears first) who was the most put off by the camera. In fact, in looking at the footage I noticed his head appeared to be physically straining away from the camera as if to get as far away from it as possible. Correspondingly, there was a lot more to edit in his interview (pauses, ums, ahs, stumbles, etc.), all of which is hidden under the B roll. The end message of the video, however is carried entirely by him. And there’s a reason for that: He was asked the magic interview question at the end. I pointed out that they had a very successful and growing business in a niche market and that they had been at it for a very long time, growing all along the way. “So”, I asked him, “What makes you get up in the morning? What is your passion for this business?” (or words to that effect). His response is entirely uncut. I let it roll even despite a few long pauses because it was so obvious that he was completely sincere. And his message was in perfect alignment with the message of the video in its whole.  Who wouldn’t then want to do business with this guy?

B roll

It might appear, in some cases, that the B roll was shot after the interview to fit so nicely with a few bits that were being said, but no. It was all shot first. But I shot so much that I was able to fit shots very nicely to what was being said as if I had shot it afterwards or to a script.

Music

I must have spend an hour and 1/2 looking for a suitable piece of music for this video. Thanks to the search parameters of Audio Jungle (and now Audio Blocks) which allowed me to search for a pretty exact length, I was able to preview dozens of potential fits. Then I found this one. To my absolute amazement, I laid it down and didn’t have to do a thing to it. No editing. No adjusting. It’s entirely uncut. It fits the beginning and end titles, and, if you listen carefully, it even does several things along the way that would convince you that it was scored specifically for this video.

I liked this music so much that when I was editing a promo video for my sculptor wife I had it in the back of my head to see if it would work. Turns out the same thing happened. It just dropped right in as if it was written for that video too. That’s one magical piece of music.

Other Notes

It was a one day shoot and two day edit.

For those interested, it was shot on the Sony PXW X70 in AVCHD mode.

The interview lighting was done with 2 LED Flexlites which I reviewed in this blog. The ‘kick’ you see on the side of their faces would appear to be from the background windows, but was actually created by one of the Flexlites dialed way down. The frontal fill was another Flexlite opposite the backlight. Fill was simply ambient light in the room with the intensity of the key light being set to achieve a 2 1/2:1 contrast ratio with the ambient fill.

Edited on FCPX. Color balanced with Color Finale.

Oh, and did anyone notice I added the sky, clouds and sunbeams to the opening shot? (it was a lousy day in Leicester that day)

The following video was directed and produced by Leapfrog Marketing (Alan Myers – 0116 278 7788) in association with The Video Whisperer.

And just for a bit of fun, here’s the video I did for my wife with the same music:

Pure Frickin’ Brilliant–Flexlite, the Flexible LED Panel

As anyone who follows my blog knows, I like stuff that’s simple, smart and compact.

Being a great fan of LED lighting for the home, I felt it was time to check up on the advances of LED technology for the film industry.

I was never happy with the bulk, fragility and horsepower-lack of my flouro softbox lamps, so I went to the Broadcast Video Expo in London earlier this year to see what the LED crowd was up to. They were up to a whole lot of things it turns out.

But of the vast array of impressive LED lights, one particularly caught my attention–the Flexlite, manufactured in Korea by Neonix Co., Ltd.  I spoke with the London distributor Prolight Direct Ltd.

Flexlite

 

 

It’s designers didn’t follow the traditional path of encasing it in an aluminium housing. Rather it is on a flexible backing.

It has a clever, compact mounting bracket that slips into elastic bands on it’s backside. Or, using its velcro tabs, can be mounted just about anywhere.

You can curl it up into a cylinder, bind it with rubber bands and drop it into a Chinese lantern for 360˚ illumination.

You can stick it on the end of a monopod or selfie stick and, with a battery, use it as handy fill for vox pop interviews.

And, of course you can stick it in a softbox.

Is it durable?

I asked this of the distributor at the Broadcast Video Expo. To answer that, he took the lit panel and threw it down on the floor. “I’ve been doing this all day”, he added.

It’s currently available in 5600K adn 3000K versions only. Bi-color versions may come in the future.

Cost is £413 available at Prolight Direct Ltd.

Full technical specs and related accessories, including battery and cable can be found here.

U.S. Distributor (Wescott) here.

The battery offered by Prolight Direct is a single unit with built in charger, but any Vlock battery will attach to their belt-clip V lock battery holder. If you already have V lock batteries, all you need is the adapter cable provided by Prolight Direct or any future distributor.

It comes with a power adapter and dimmer, adjustable from 10-100% maintaining a constant color temperature throughout the range. It also comes with a compact support frame, adjustable light stand mounting hardware, and an extension cord for the dimming unit that can be employed as the case demands.

Flex lite kit

 

Following a video review I did  demonstrating the light, showing samples of its use and demonstrating its brightness and constant color temperature at different brightness settings using its dimmer.

New Review Coming Soon–Flexlight, a Clever and Versatile LED panel

Just one more thing to get out of the way over the weekend and I’ll start putting together a review of the Flexlite LED panel.

Flexlite

Flexlite–the flexible LED panel

 

Like everything I review, I own it. And I only review it if I really like it. And I only buy it if I really like it anyway.

LED lighting is coming of age in the film and video industry. There are a LOT of good LED lights out there. This one was the only one of it’s type–the rest mainly being encased in aluminium housings of one sort or another.

But for sheer functionality without the weight and bulk, this may be the perfect solution for the run and gunner.

IMG_9649

Innovative holder for use on light stands or even ‘selfie sticks/monopods’ for hand holding

 

You can snap in its holder for regular light stand mounting or even put it at the end of a selfie stick or monopod for hand-holding (say for fluid man-on-the-street interviews).

Or, using the velcro already sewn into its corners, you can velcro it to a surface or even to the inside of one of your existing soft-boxes (which I did). It’s brighter than the brightest spiral flouro lamp.

Dimmed to its lowest setting

Dimmed to it’s lowest setting

 

IMG_9647

Full brightness

 

What I intend to do is some testing to quantify its brightness and colour temperature.

I’ll also show it in use during an actual corporate shoot (nice to be able to sit in the chair with the viewfinder flipped so I can see it and simply dial in the correct exposure).

It’s also apparently quite durable. The fellow at the BVE show in London earlier this year threw it down on the ground while it was lit to answer that question when I asked it–and said he had been doing that all day long.

You can curl them up into a cylinder, wrap with rubber bands and drop into Chinese lanterns for 360˚ illumination.

Pretty clever.

Anyway, hope to get the review up within the week.

 

 

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