So what do you do for a living?

A reply to the killer question

Anyone in corporate communication can relate to this. Someone pins you against the wall at a party and asks what you do for a living. The strained expression on your face tells your interviewer they have stumbled on to sensitive ground. Perhaps you have just been made redundant or worse. What your slightly sozzled mind is actually trying to formulate is an answer that avoids the dreaded follow up, ‘So have I have seen anything you’ve done on telly?’ As you race through the limited glossary of terms that describes our profession, all you can do is eliminate.

The first term to eliminate is ‘corporate’. It smacks of smoke stack factories and armies of pen pushers. ‘Video’ has connotations of weddings or You Tube and is likely to lead to a tedious conversation about digital cameras. And if you dare mention the word ‘training’, the words John and Cleese bubble up from the memory of some long forgotten course on telephone etiquette and you are dead in the water.

‘I work in communications,’ you offer lamely. Your interviewer immediately asks whether you know of a fixed-price, all-in-one, totally for the rest of your life mobile phone and broadband package. You stop that train of thought with the qualification, ‘business communications’, or ‘business to business communications’ or, in total desperation ‘public relations’. Still none the wiser, your interviewer suddenly realises her glass needs refreshing and you are left standing there like the gay vicar at the garden party. ‘Next time,’ you say to yourself, ‘I really must get my script for this conversation sorted out. I need a reply that eliminates all confusion and makes me look cool.’

‘So what do you do for a living?’

‘Government and private sector communications, you know, high end stuff; behaviour change, product launches, environmental awareness programmes.’

Note clever avoidance of words industrial or business and the conflation of totally different types of communication.

‘What sort of communications are they?’

‘These days it’s all about mixed media. We use a combination of live action, dramatisations, CGI and of course it’s all integrated at the back end using Web 2.0, social media, online collaboration tools, you know the sort of thing.’

Your interviewer looks at you wide eyed, she hasn’t the faintest idea what you are talking about but it sounds very cool. You quickly intervene before the next question.

‘For instance I am just working on a regular communication for a pharma company. They need to get the rank and file up to speed on their new blockbuster molecule. The whole thing is shot in a dedicated studio (virtual of course) with VT links to our roving reporters across the world. They won’t get much change out of half a mil.’

‘Sounds really cool, how exciting.’

‘The communications industry is big business these days; turns over around £3billion, bigger than advertising. But we like to stay in the background, (taps nose conspiratorially) our clients are the stars.’

The communications industry is more impressive than corporate communication and never say, ‘but no one has ever heard of us’.

‘So what’s your  job?’

‘Nothing really, I just come up with the ideas and stop the client from making too much of a hash of it. Our job is all about managing expectations.’

Quit while you’re up, never let the conversation stray into specifics, move on ever so quickly.

‘So what do you do, anything interesting?’

Jonathan Priest does something very interesting. He’s a creative writer working on high end, back end, end-to-end communication solutions.

Video FAQs

If ever you become involved in commissioning  a video for your organisation, here are my thoughts on some of the questions you may have. You can also read my Reports  Corporate Video and Treatment Scripts & Storyboards which provide insights into the commissioning and production processes.


Question


Answer

Anyone with a camera and a laptop can make a video these days, why use a professional film maker?

Your video is an expression of your brand and  should reflect your values in terms of quality and creativity. If you received a video from BMW or Sony, you would expect it to have the same production values as their products. Only an experienced film maker knows how to put that quality on the screen.  A poorly conceived and executed video will do more harm than good.

What is the best criterion for making a video?

Because there isn’t a more effective or more economical way to get the message across.

What is the best use of video?

Video is a medium for telling stories, for creating a narrative journey using themes and visual metaphors. It’s good for the big picture, poor on detail.

Is a video like a website, do you need one to do business?

No. But used strategically, they can be very effective tools. Video is most effective when it is part of the marketing and communications mix.

What makes for a good video?

Keep it short, keep it punchy and don’t try to squeeze in too much information. Creatively, be prepared to take risks or your video will be like everyone else’s. Bravery invariably pays off because your video will become a talking point and is more likely to go viral. Leave nothing to chance, do your homework because mistakes are very costly.

What is drama best for?

Changing behaviours, challenging misconceptions and providing positive role models.

What is documentary style best for?

Advocacy, demonstration, explanation, PR, recruitment, staff induction, skills training.

What is drama documentary used for?

Drama documentary is often used for training and public awareness campaigns. The drama elements can be used to re-enact historical events or possible future events (i.e. accidents) or reveal conflicts between different points of view expressed by characters in a drama. These underpin and drive the documentary exposition element of the video and bring the subject to life.

Is it worth doing a drama with inexperienced actors to save money?

Inexperienced actors lack credibility on the screen. Unless they are famous, experienced actors don’t cost that much more. They will bring their characters to life and it usually takes them less time to shoot their scenes.

When is it best to use a presenter?

When you need to engage a particular audience in a very personal way. Regular employee communications can be helped by having a familiar face. A presenter who has specialist knowledge of the subject area will also add value. The presenter can play the role of storyteller, advocate, investigator or clown but the success of the video hinges entirely on the effectiveness of the presenter.

When would it be inadvisable to use a presenter?

If you are trying to reach a very diverse audience, not everyone will take to a particular presenter who inevitably brings his/her own class and cultural associations. You can’t risk alienating any percentage of your audience. There needs to be a compelling case to use a presenter; the default choice is voice over.

Is it worth spending £5-10K on a well-known presenter?

Using a well-known presenter shows you mean business and demonstrates confidence and credibility but the cause has to be significant enough to justify the investment, such as a major product launch. The rest of the video must have correspondingly high production values to ‘honour’ your presenter and maximise his/her impact.

Where does the production budget go?

The factors that most affect the budget are the number of days shoot, travel and accommodation. You pay the crew the same for travelling as shooting, so the fewer and closer the locations, the better. If it’s a drama, the number of actor days is a major cost. Graphics and especially animation are also expensive.

I would like to use animation in a video, what do I need to be aware of?

Animation, whether 2D or 3D, is a complex and time consuming business and hence costly. Familiarise yourself with the production process, become an informed buyer. Animation starts with an agreed script and storyboard. The animator will then produce some key frames to show the detailed visual style. Once those have been signed off, you proceed to animation. Any changes you make from now on will be costly and introduce delays. Be extremely vigilant about the sign off process and above all, make sure all the stakeholders are involved.

Should I make my video longer to get better value for money?

No, the law of diminishing returns applies on audience concentration. Less is more. It takes real craft to make a short, punchy video.

How much does a minute of video cost?

The idea that videos can be priced by the minute has been around for years. It’s as meaningful as pricing an oil painting by its surface area.

We want to put the video out to tender, how many companies should we ask to submit?

Three is ideal, five max. Producers will calculate the odds of winning and if the odds are high, they have every incentive to invest time and talent in the pitch. Invite too many and you could end up with a lot of indifferent proposals. Provide communication objectives, a face-to-face brief and as much background information as possible.

Should I tell the producer how much I have to spend or will that encourage them to up the price?

It’s better to be up front about the budget so producers are competing on creativity and production values rather than price. A good producer will always try to give good value for money which means putting as much of your budget as possible on the screen. After all, they want to win your next job.

Is a script always necessary?

Not always, depending on the programme style. A set of objectives and/or a list of interview questions may be enough. The video is then crafted in post production. You will need to sign off a full script for a drama, presenter or voice over commentary.

What value does a scriptwriter bring?

Scriptwriters don’t just write the words. They develop a theme to encapsulate the message and a visual concept to get it across in a memorable way. Scriptwriters also know how best to connect with particular audiences, using the appropriate tone and use of language.

What is the role of the producer?

The producer is the project manager and the client’s main contact. The producer manages the budget and puts together the production team. The producer then acts as a creative midwife who brings the project to life and makes sure you get the video you wanted.

What is the role of the director?

In video, the director is responsible for everything that happens in front of the camera; the choice of shot, the performances of the actors the overall visual style of the video. The director also supervises the edit and the production of any graphics during post-production. For events, a director has the same overall creative control.

Can we use our video to reach more than one audience?

The more targeted the video, the more effective it will be. However, if you do have multiple audiences, make that clear in the brief.

People say it’s bad to use talking heads, is that true?

It has been regarded as lazy way to make video but talking heads can be very effective; it’s all down to quality of the interviews and the editing. They are most effective when used sparingly and intercut with other relevant interviews to build a case. The use of relevant cut-away shots is also important.

What is an off-camera interview?

The person asking the question does not appear in the shot (i.e. they are off camera) and their questions are usually cut out. This means the interviewee must provide answers that make sense without the question.

We are recording a video our annual conference, could we turn the speeches into a DVD?

You can use snippets as cut away shots to separate off-camera interviews, but a video of someone giving a slide presentation is worse that watching paint dry.

Can we widen our audience by web streaming a conference or discussion panel?

You can but there’s no point putting up a single camera and hoping your online audience will stay with you. The event needs to be professionally produced with multiple cameras, on-site vision mixing and of course excellent sound recording.

What about mass mailing DVDs?

People tend not to watch them, there’s always something better to do. Invite people to apply for them, that way they are more likely to watch them and it’s a good way to capture people’s details.

Is it a good idea to put a video/s on my website?

I see web and video as somewhat conflicting media, they offer very different narrative experiences. A video, especially when it’s on the home page, can disrupt the experience of your well-crafted website i.e. ‘I’ve seen your video, so I won’t bother to look at your website.’

What is more important, the quality of sound or vision?

Viewers will put up with poor quality images, but poor quality sound is unacceptable. That’s why you can’t get away with using the gun microphone on a camera for interviews. Use a tie mike or boom.

My MD wants a video of him talking to our staff about current issues.

You need to choose an approach that best suites his/her style. Talking straight to camera is very compelling but not everyone can pull it off.  It’s generally safer to use an off-camera interview technique. Don’t stick him/her behind a desk; choose a location with background activity or even outside, if it’s not too noisy. Take some shots of him/her walking the talk using a radio mike and a long lens. These will cut nicely with the formal interview and make him/her appear more friendly.

My MD wants a video of him talking about our products to potential customers.

Talk him/her out of it unless she/he’s is very natural in front of a camera. It could put people right off. If she/he insists, do it as an off-camera interview, not directly to camera.

He says not to worry, he’ll use a teleprompter.

Bad idea, it will make him look wooden and shifty. Teleprompters are strictly for professionals.

Which is more important, the producer, writer or director?

The producer, he/she chooses the other two.

What is the best advice you can give about video production?

As ever – good, quick, cheap – any two.

Any questions?

If you have any questions about video or need help with a video project, please email
solutions@creative-writer.com

Food Secret

Food Secret is an up-market health food eatery in Soho and provided me an unusual project,  just completed, to develop the content for a series of flat screen display panels about the ingredients used in their meals. For example, did you know that if you eat too much papaya the soles of your feet turn yellow? Or that the term grenade, as in hand grenade, comes from the French for pommegranite, la grenade? The original concept of Stories Revealed came from designer James Hatfield. I helped to develop it further and research and write all the captions. Great fun and totally one off. Click on the images to see the artwork. To see the animations, you will need to visit the restaurant on 59 Broadwick Street, W1. The food is great by the way, very healthy.

The amazing power of three

Did you hear the one about the Englishman, the Irishman and the Scotsman? Like the story of the Three Little Pigs or Goldilocks and the Three Bears. Or the three trials before the prince wins the hand of the princess. They all follow the rule of three. Things that come in threes seem to be funnier or more satisfying. Aristotle wrote about it in his book Rhetoric. Winston Churchill demonstrated the rule’s power in many of his speeches. Adjectives are often grouped in threes to emphasize an idea such as my favourite edict about creative projects; ‘You can have it good, quick, cheap – any two’. Snappy dialogue often turns in threes as in, ‘Face it, Brian, I’m a bad father, a lousy husband and a snappy dresser.’

The rule also works visually. On this site, I have divided my services between three panels. I didn’t deliberately set out to do this; this was how the cards fell once I had finished endlessly shuffling them. Designers generally advise you to use no more than three different fonts or three different colours. And then there’s the ‘three click rule‘ – that no content should be more than three clicks away from the home page, though for me that’s already one click too many.

Why these holy trinities are so compelling lies buried deep within our psyche. After all, when we come into this world we form a trio with our parents. It is the perfect relationship, it implies protection, belonging and love. Perhaps we are always trying to re-discover that state of perfection and therein lies the power of three. So if you have a communication challenge  – good, bad or indifferent – trying thinking in triplicate.

Movies and Marketing

What was the last film you really enjoyed and why was it so satisfying? You don’t need to know why it worked to enjoy it, but the reasons are likely to relate to plot, character, structure and most cryptic of all, the controlling idea, the movie’s basic premise.

The qualities that make a good movie are so well documented, one wonders why bad movies ever get made. And yet the majority fall down for various reasons. The trick seems to be to follow the time honoured conventions of screen writing while being highly creative in their interpretation.

So what has all this to do with marketing? If you apply the fundamentals techniques of screen writing to developing your marketing communications, you’re unlikely to go far wrong. The goals are fundamentally the same; to provide the audience with a satisfying and memorable experience. Small wonder so many successful screenwriters did time as advertising copywriters before branching out into movies. Spot the similarities:

  • A good script has a strong premise
  • A good script hooks its audience
  • A good script has a basic premise, a controlling idea
  • A good script is entertaining
  • A good script ends with a satisfying resolution

Where appropriate, replace script with campaign, premise with consumer insight and resolution with call to action. Now you know why it makes sense to use a screenwriter for your marketing communications.

Pitching to Win

There’s no point winning the creative battle only to lose the business war. You pitch to win, no holds barred.

I have been involved in a lot of pitches and learned from some of the industry’s top producers. My discoveries are summarised in my report Pitching to Win. At the very least, it should considerably reduce your chances of losing. The report covers the following:

  • Analysing the brief
  • Observing the corporate culture
  • Choosing the right creative approach
  • Developing the theme
  • Constructing the document
  • Bringing the proposal to life
  • Planning the presentation

I have a good track record helping companies to win pitches. Earlier this year I helped win a £100K project for a training DVD. I also like to think I help companies keep their clients by delivering a very professional service. Click here for a free (no obligation) copy of Pitching to Win.

Tell the story backwards

‘Not all scriptwriters are able to conceptualise,’ said Des Good of CEO Grosvenor Productions. This surprised me; I thought that was what scriptwriting was all about. Fortunately, I am one of the ones who can. If you need a cracking opener, a magical metaphor or a thoroughly thought out theme, then get in touch. Getting down to specifics, here are some areas where I can add value:

  • Medicine and the pharmaceutical industry
  • Science and technology
  • Programmes requiring drama and/or humour
  • Compliance, financial crime and legal training
  • Local Government
  • Skills training for the transport sector

On the production side,  I can help with:

  • Off-camera interviews in English and French
  • Off-camera interviews with doctors and patients
  • Translating and subtitling from French to English
  • Supervising post production
  • Supervising animation storyboards
  • Pitches and proposals

What is your website for?

If you Google this question, you get no replies. Does that mean it’s a silly question? I  mean everyone knows what websites are for, don’t they? They may think they do until they try to put one up. For example, should it be a portrait of the owner or a mirror to the user? Where should it lie on the continuum between positioning and partnership? Is it right to make an indivual look like an organisation or a small organisation look like a multinational? Should the emphasis be on the words or the images?

Business people are often too busy to worry about their websites, but it’s a task they delegate at their peril. Your website is the most significant representation of your brand. My beliefs about controlling ideas, themes and positioning are as crucial to building a website as they are to a video or feature film. Going through that intellectual process, step by step, will save buckets of time and money on development and deliver a site that reflects your values. If you have a web project, I would be happy to take you through the process, but I shall be asking lots of questions such as, ‘What is your website for?

IVCA Awards, how not to win one

Occasionally a client commissions a video with the slightly quaint request that it should win an award. The most prestigious of these and the hardest to win are undoubtedly the IVCA Awards. Having been an IVCA Chair of Judges for many years, I have a good idea what makes a winner but it’s hard to prescribe. I do know however what will positively guarantee failure:

  • Do enter your programme into the wrong category, the judges won’t notice
  • Don’t check the DVD actually plays, the judges are all techies and will sort it out
  • Do give a misleading description of the objectives, no one reads them
  • Don’t provide the supporting materials you say go with it, ditto above
  • Do state the client was really pleased, that means so much
  • Don’t take your name off the titles even though you were asked to do so
  • Do blow half the budget on the opening, they never watch them through
  • Don’t employ an award-winning scriptwriter, it’s a complete waste of money

Recent video productions

Here are some of the video projects I have been working on:

  • courtroom dramas for the Dept of Justice for series ‘You be the judge’
  • series of videos on urology for Ferring Pharmaceuticals
  • 3D animation for GlaxoSmithKline on how to conduct assay for H1N1 virus
  • 30 minute training drama for The Standards Board for England
  • sales video for GE Health Care on a laboratory analyser
  • PR video about atrial fibrillation for Sanofi Aventis