College Park helps amputees gain back their mobility and freedom through innovative technology that restores maximum function for amputees of all ages and activity levels. Jen’s Story is a customer testimonial video sharing her challenges as a new amputee and how College Park’s products help her live a fuller life than she ever thought was possible. Our approach with customer testimonial videos is to focus on the story of the people first and then show how the product or service meets their needs and improves their quality of life.
Producer/director: Jamie Honce
Creative director: Evan West
DP: Jamie Honce
Lighting/grip: John Miller
I’ve always had a passion for creating…anything. It’s the challenge of figuring out what needs to be done and then doing it. This is the unique thrill that comes from working with a start-up. It’s a whole bunch of people working together to figure out how to bring their product to life. These are the kinds of projects where you can get your hands dirty because the client is right there with you, and when our client is successful we are successful.
So what is Skipstone?
Skipstone is an interactive video platform that enables efficient and collaborative investigation of goods and services. Skipstone empowers both consumers and retailers to connect in a new dynamic way. Learn more about Skipstone at goskipstone.com
The key to the success of the Skipstone video is collaboration. Building the right team was essential for the product launch video so we invited creative director Evan Jones from Schok Creative on to the project. His experience with branding campaigns for national companies was the edge Skipstone needed.
After weeks of working through scripting, talent auditions and fine tuning logistics, the pre-production was complete. Filming took place over two days in Flint and Ann Arbor and then posted in house at Clearview Media in Rochester.
If you’re a start-up and need help with your product launch video give us a call. We’d love to help you succeed.
Clearview Media is a video production company located north of Detroit in Downtown Rochester.
This video case study was filmed for KUKA Robotics showing how their robot was used in IMP’s custom packaging line with a robot palletizer. This is a unique integration because the robot can quickly change the end of arm tooling based on which product it is palletizing. Our approach for this case study was to explore why Albertsons moved to a robot palletizing system and the impact it had the employees.
We’ve filmed some pretty cool robot demos, but who knew there was a robot who made coffee? FOCUS Integration partnered with KUKA Robotics to create this fun integration and we were there to video it.
While the Joebot was a fun project, the folks at FOCUS Integration create custom solutions for conveyor systems, palletizing systems, packaging equipment, custom material handling, automated control systems, and complete project management. Check out their website to see their real wold integrations. http://focusintegration.com
When approaching a new project, there are many factors that go into determining the proper feel for the video production. Choosing the right type of camera can make a world of difference, but don’t worry, your cinematographer or director of photography (sometimes shortened to DP or DOP) will take the lead on this important decision.
Let’s take a look at the three main camera types, Video, DSLR and Cinema, to see which one would work best for your project. This is a high-level comparison and largely subjective. Usually the final decision comes down to budget and what your DOP is comfortable using.
Video cameras are great for documentary style productions, news and athletic events. They offer strong optical zoom (unlike DSLR and Cinema cameras that use interchangeable lenses) to easily follow a moving subject without stopping to change lenses. The zoom reflex is button operated, making for a more smooth, controlled zoom when compared to other cameras. Video cameras also come with manual audio level control to easily monitor audio internally and can record for hours without stopping.
Unfortunately, if you’re going for more of a “film look” the video camera is not for you. It typically offers less aperture flexibility to achieve that shallow depth of field than cameras that use fixed focal length lenses.
Digital Single Lense Reflex (DSLR) cameras can give you that “film look” you want at a fraction of the price. They are relatively cheap when compared to full fledged cinema cameras and use interchangeable, fixed focal length lenses with a wide aperture range to achieve the desired depth of field. DSLRs also have bigger sensors than many video cameras, making them significantly better under low light conditions. They do have the ability to zoom when using a specific zoom lense, however these lenses have a limited range and are manually controlled, making it more difficult to create that slow, smooth zoom without external accessories.
Also, many DSLR’s have limited recording time of approximately 30 minutes and bad internal audio with little to no manual control. External audio is usually used with the DSLR in professional productions.
Cinema cameras are another beast when it comes to shooting a professional production. Like their name suggests, cinema cameras are the absolute best for film and television. They offer extended recording times, greater dynamic range (are more forgiving with exposure), and a sharper image quality than DSLRs.
There are two categories of cinema camera to choose from based on your needs and budget. The first is a pro-grade, interchangeable lense camera for the independent filmmaker or small business. Canon C100 and C300 cameras are good examples used by Clearview Media. They offer comparable high resolution and high definition (HD) capture in an ultra-compact body similar to a DSLR. With built in ND filters and a cinema color grade, these cameras were created specifically for professional productions with modest budgets.
The second category of cinema camera is built for professional productions of the highest caliber, including studio cinematic films and TV. Cameras like the RED series fall into this category. Even better than their little brothers, these cameras shoot in the highest 4-8K resolution. Many can maintain this resolution shooting up to 120 frames per second and are still compact enough to configure your rig for every production type, including gimbal, run-and-gun or studio environment.
Keep in mind, these cameras are very expensive and usually only necessary for the highest level productions and cinematic distribution. Most TVs on the market today only project in HD 1080p, the resolution produced by a DSLR.
This is a basic rundown of the differences between Video, DSLR and Cinema Cameras. Each offer their own unique attributes for different project types. Take some time to research exact camera models to find out which is best for your specific project.
So you want a video to promote your brand? Cool! Logic would tell you to highlight the technical details and how well the brand works, but that may not be the best option.
Let’s look at an example.
It’s Friday night. You walk into a party and everyone is sitting around, looking bored. As you crack open an ice cold Bud Light the party erupts. Your buddies throw you high fives as the hottest ladies give you “the eyes.” The stereo blasts your favorite jam and you’re the life of the party.
We see this scenario in advertising all the time, and even though we know it’s a load of (insert appropriate expletive), you still buy the Bud Light. Heck, you’re up for anything, right?
The company isn’t literally trying to say that if you crack open a Bud Light, you’ll be the life of the party. I’m pretty sure even a 12 year old could figure that one out. What they are doing is creating a feeling of positivity around their product.
You may not realize it, but after seeing this message over and over in various forms, you’re going to feel good about buying Bud Light. And THAT, is the power of emotion.
Let’s take a look at your brand video. Certain technical elements should be highlighted, but in a more general fashion. What you’re looking to do is connect with consumers on an emotional level. You have the power to build positive feelings in audiences with a creative video. Those positive feelings then lead to an emotional attachment to your product or brand.
It’s all about feelings. Humans feel like they know brands in the same way they know other people. If they like your brand, they will continue to use it even if more logical brands are available, the same way you might drive a few hours to visit your best friend instead of staying home and hanging out with your less exciting neighbor.
So what kind of emotions should you target in your videos? That’s a good question, and there really isn’t one specific answer. You may choose to target one or more based on the type of appeal you’re looking for. Take a look at some of the more popular emotional appeals.
Happiness – The most popular emotional appeal, simply because its pursuit is the rationale of every decision you make. “Will this make me happy?” It’s the American dream. Your video could be funny, generating joy through laughter, or it could reflect the dreams of your audience, reflecting what would make them most happy and how your brand could bring them to that state of being.
Sadness – As the exact opposite of our most popular emotional appeal, one might think you should never make a sad video. Not True. There are many reasons a sad video can be just as effective as a happy one, the biggest reason: empathy. If your brand or product touches on a sad or sensitive topic, viewers are drawn to you through their own personal experiences and feelings on that topic. This empathy often makes us more generous and trusting, attachment to your brand will grow, just in a different way.
Fear/Surprise – In a similar way to Sadness, Fear and Surprise can be effective in stimulating greater brand attachment. “A study published in the Journal of Consumer Research demonstrated that consumers who experienced fear while watching a film felt a greater affiliation with a present brand than those who watched films evoking other emotions, like happiness, sadness or excitement (Seiter, 2014).” People cope with their fears by turning towards the familiar, either close friends or, in our purposes, a comforting brand; like my snuggie… and a pint of Ben and Jerry’s.
Anger/Disgust – While many attribute anger to other emotions like aggression, a recent study by The University of Wisconsin found that it also creates an interesting form of online stubbornness. When exposed to negative comments on a particular stance, viewers are more likely to sink in and, sometimes irrationally, defend their original viewpoint. Harnessing this emotion within a video can be tricky, but, with the right script and target audience, the ability to increase brand allegiance is highly likely.
Guilt – Consumers can be easily persuaded by feelings of guilt. This emotion is perfect for Non-profits. You might often hear phrases like, “Don’t let them suffer anymore, for only (Insert small contribution here) a day, you could save a life.”
Pride – Many consumers want to feel cool, they want to be trend-setters. Taking a keeping up with the Joneses mentality when developing a video is never a bad thing when it comes to brand promotion. Look at Gatorade and their “Be like Mike” campaign. According to them, if you drink Gatorade, you can play ball just like Michael Jordan. So consider targeting pride in your next video, all the cool kids are doing it.
These are simply a few of the many emotions one could target in their promotional video or advertisement. To decide on the best option to meet your branding goals, consult a professional copywriter and producer. They’ll design a solid concept and execute it with the professionalism you’re looking for. May I suggest Clearview Media?
Written by: Cody Stauber