Getting the best from your corporate video usually means working with the right person. If you and your film maker's ideas differ too much neither of you will be happy with the end result. I'm not overly dogmatic, but the following are the guidelines that I enjoy working to, they're also the most effective when it comes to corporate communication.
This is the key note of my production ethos - content is king - anything else is there to make up for a lack of content. Unexpected visual effects, outlandish dissolves, if the weird stuff starts creeping in it's usually because the content starts to weaken, ask: "What does this add to the story?" It's guaranteed to produce a great line of film maker's bullshit.
The editing is the 'punctuation' of your film, it should be unobtrusive. If it appears more dominant than the story is it because there's no story? Or because the editor needs to demonstrate how 'clever' he and his kit are?
If a writer did this, with commas, or ended a sentence with . You'd wonder what was going on!It's what bad editing looks like.
Corporate video is all about the audience, the viewer, or at least it should be. What do they need to take from the video?
It's not about the director being clever, it's not about the editor being clever, it's not about the camera operator being 'arty' and it's not about your MD's ego either. It's only about the audience.
Alan Howarth: Corporate documentary producer based near Blackpool, Preston & Lancaster, Lancashire in the North West of the UK, I frequently work in Leeds, Manchester and Birmingham and I spend 50% of my time working in London. within the M25, I travel throughout the UK and often work in mainland Europe, with work published throughout the world. I'll go anywhere - except war zones.
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Page: Corporate Video Documentary Style