YouTube’s content structure: Hero, Hub and Hygiene/Help

Posted by Nick Francis
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In the same way that traditional broadcast channels have schedules and different types of programming for different audiences/time of day, so can your business. You don’t necessarily need the same breadth of programmes that they have. But it is worth thinking considering how your audience interacts with the different content that you create or curate.

A few years ago now the helpful people at Youtube published their guide for content planning. This defined three different types of video which reflect the different ways audiences access content online. They called this structure: Hero, Hub and Hygiene.

Hero Hub Help-1The hero, hub and hygiene/help content structure

YouTube realised that the user is drawn into an online video channel in one of two separate ways – they either see something that catches their eye, which gets them to click on it and watch it, or they type in a search term to find out about something that they are specifically looking for. Once on the channel, they should be encouraged to subscribe. From then on, they are sent notifications when the channel is updated with new material; this leads to the necessity of regular magazine-type content. These different types of content give rise to what they have termed hero, hub and hygiene/help.

Hero

This is the really eye-catching, click-bait stuff. It is more akin to traditional TV advertising as a type. This is where you ‘go big’ to raise awareness of your brand and the other content you are sharing. It is often ‘chunked’ or divided into shorter clips or images, and used as a promotion for the channel itself in banners on other sites. Because of this, its purpose is to catch the audience’s eye with the concept, image or title as they browse elsewhere. They then click on the link and are drawn into watching the video, before being served the other content hosted on the channel.

Deutsche Bank - Agile Minds-1

Deutsche Bank: Agile Minds - hero content is not necessarily about spending lots of money

Hub

This is the ongoing magazine-type material. This should be updated regularly with the goal of getting the audience to check back in to see what the latest show is. This is designed to be ‘pushed’ out to existing subscribers; this means that they will receive a notification when there is some new material for them to have a look at. They then click on this and revisit your channel.

Marriott - Wandernaut Show 01

The Marriott Wandernaut Show

This animated series was shared internally to allow staff to hear from key leaders and keep up to date with what was going on across the business. These films gave staff members a reason to check back in and be involved in the company channel.

Hygiene/Help 

Tesco - Lighting

Classic help content: How to Light a Room for Tesco

This is the content that people actually search for – how-tos, guides and instructions. This type of content is designed to pull users into your channel through search results. Initially, YouTube called this ‘hygiene’ because it is about things that people need to do. They since changed this to ‘help’, because that better reflects what it is/does.

How they work together

By using the three different types to complement one another, it is possible to draw an ever-increasing number of subscribers into your channel – an initial goal of any channel operator. How this works can be seen in the following diagram:

Hero Hub HygieneHow it works: building an audience with the hero, hub and hygiene/help content structure

Your audience find Help content by searching for key words or phrases. This leads to a gradually increasing number of subscribers. Having subscribed they continue to be able to access the Hub or magazine style content you share. Additionally, tentpole Hero content is pushed out drawing larger numbers of viewers back onto the channel. These videos cause the viewer numbers to spike, with subscriber numbers increasing proportionately. You then continue to build trust with your subscribers by sharing content which they genuinely like and value. We'll look at that in more depth next time.


Whatever you are trying to achieve with your content. Whether you want to create a simple how-to or a multistage campaign, it's essential to set off on the right foot. To help you to do this, we created our guide to help you create briefs which are better thought out, clearer and more likely to get you the result you're after. Click here to download it:

DOWNLOAD BETTER BRIEFS 

Topics: Increase brand awareness and appeal, Being a better commissioner, How-to, Content Strategy

Why is video such a powerful communications tool?

Posted by Nick Francis
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 "Of all the arts, the most important for us is the cinema"

- Vladimir Lenin

The leaders of the Russian Revolution were fascinated with the power of film as a propaganda and educational tool for a largely illiterate population. The reason for this was the medium’s ability to inspire emotion among groups of people.

Eisenstein
Sergei Eisenstein, 1925 – genius filmmaker of the Russian Revolution
One hundred years on, film/video remains the most potent tool available for generating emotion in a dispersed audience. It’s the ability to move us that makes good cinema completely spellbinding, and why, historically, TV advertising has been so lucrative. We are moved because we empathise directly with what happens to the characters on screen.
 
Storytelling is an essential tool in any corporate communicator’s arsenal. It’s when it’s combined with the natural properties of film that it becomes the most powerful communication tool available to humanity. This is because video is most effective when used to portray human emotion.
 

Empathy

ˈɛmpəθi/

noun

“The ability to understand and share the feelings of another.”

Empathy is a key evolutionary skill. It’s fundamental to our ability to form cohesive social groups. It allowed our forebears to benefit from not having to fight sabre-toothed tigers literally alone. It allows us the same benefit, metaphorically speaking. When we see or hear about people experiencing specific emotions, we’ve evolved to feel those same emotions. For example, if we see someone who’s suffering from the cold, we feel a little of that suffering. This makes us more likely to offer a jacket, blanket or space by the fire. These emotions assist the survival of the species, and are part of our intrinsic need to seek out experiences, understanding and companionship. These are fundamental elements in what makes us human.

The mechanics behind empathy have long baffled neuroscientists. To begin with, it was assumed that the emotion was as a result of a logical, mental interpretation in order to predict other people’s actions. Then, in the early 1990s, Italian researchers studying the brains of macaque monkeys made a breakthrough. They discovered that the same area of the brain lights up in monkeys that are just watching their fellow monkeys reaching for food as in those who are doing the reaching.

Casual FIlms BrainThis led to the discovery in the brain of what are called ‘mirror cells’. This profoundly changed our understanding of neurochemistry. These cells allow us to understand other people’s actions, not by thinking through what they are doing but by directly feeling the emotion that they are feeling. When you see someone frown, for example, your frowning mirror neurones fire up too, creating the sensation in your own mind that you associate with frowning. You don’t have to experience what the other person is experiencing to make them frown; you feel the emotion directly and effortlessly.

Professor Talma Hendler, a neuroscientist at Tel Aviv University in Israel, studied brain scans in order to understand the chemical basis for empathy. She found there are two types of empathy at work, which are illustrated by where they occur in the brain. The first and more advanced type is what she calls ‘mental empathy’. This requires the viewers to think outside themselves – to mentally put themselves in the other person’s shoes – and think about what they may be experiencing. The second is called ‘embodied empathy’. This is a more intuitive and primal empathy, which you might experience when watching someone get hurt.

natalie-portman cropNatalie Portman in Black Swan

As part of her studies, Prof. Hendler showed Aron Aronofsky’s film Black Swan to a number of subjects, while monitoring their brain activity. I watched this intense psychological thriller on a very bumpy flight in what was the most potently dramatic cinema experience of my entire life - but that's another story. As Natalie Portman’s character experiences hallucinations at the depths of her psychosis, the audience develops – temporarily – the same brain chemistry as a genuine schizophrenia sufferer. Watching a film of someone with a psychological illness effectively gives the audience the symptoms of a psychological illness.

This makes film an invaluable tool for marketers. What better way of illustrating the refreshing nature of your beer than by transporting your audience to a hot desert and then showing some bottles sticking out of an ice bucket, complete with condensation? The advertisers are generating the perception of genuine thirst and potential refreshment for the audience. This fact explains the continued value of video as a tool to persuade and influence.

“They may forget what you said – but they will never forget how you made them feel.”

– Carl W. Buehner
 
Breast Cancer Now - Chantelle

Breast Cancer Now - Chantelle  

This power is illustrated in full gut-punching style in this film for Breast Cancer Now. Watching this it is impossible not to feel some of the pain and anguish of Chantelle and her family. It is impossible because we are biologically designed to feel these emotions. Through the skilful use of film we can construct an experience for the viewer which pulls their emotions in different ways. Think of the terror of the beach scene in Saving Private Ryan, the romance of Lady and the Tramp, the fear of Jaws. All effective video communications rely on this attribute, even information heavy corporate comms should have a dash of emotion. If there isn't room for a bit of human emotion in your comms, you shouldn't be using video as the medium. That said, communications without emotion are not worth communicating as no one will remember them, because emotion is essential to forming memories.
 
Roche - LeanSixSigma

Roche: LeanSixSigma - no matter the subject, animation is a great way of communicating information as it allows the addition of character and emotion effortlessly.

Anthropomorphic empathy

A strange quirk of this empathy is that we have a tendency to project emotions, motives and thoughts onto the characters that we’re watching. It doesn’t even need to be a real person in order to elicit this effect. To empathise with a character, we just need to be able to attribute what we perceive as human emotions and objectives to them. Once this has taken place, we immediately and unconsciously decide whether we a) like them, and b) can trust them. It’s this quirk that allows animation to work.

Whether we’re looking at a duck, a ball or a collection of pencil lines on the screen that make up a drawn character, the effect is the same. We do find it easier if the item has a semblance of a face. The more like us the characters are, the easier we find it to empathise with them. The concept and ridiculousness of this is brilliantly illustrated in Spike Jonze’s lamp ad.

IKEA - Lamp (2002, USA)

Spike Jonze, The Lamp for Ikea

There are other things that a filmmaker can do to increase the amount we empathise with a subject. For example, we’re also programmed to empathise more with children or those with childlike characteristics. Characters that are small, have big eyes or have a cuddliness to them (i.e. that are cute) are more easily relatable. We feel more is at stake in their survival and so care more about their concerns. This is our base programming at work – human genes working to secure their own survival. Music also has the effect of increasing the level of empathy with characters that viewers feel, because it adds to the illusion of their own vitality and personality.


Whatever you are trying to achieve with your video project, it really helps to start off on the right foot. You can make sure you do this by taking a quick look at our handy guide to writing effective briefs. You can download it here:

DOWNLOAD BETTER BRIEFS

 

Topics: Production process, Being a better commissioner

10 Video Trends to Watch in 2019

Posted by Nick Francis
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2018 was a rip-roaring ride in the land of video content, as it was pretty much everywhere else. With a new year dawning, we thought we’d take a minute to look at the Top 10 trends we’ve seen developing to help you understand how people will be using video in 2019.

If these gives you a few ideas that's great - we'd love to discuss them with you. Drop us a line or let us know your thoughts in the comments section at the bottom of the page.

1. Making video go further

Video is the most effective way to get a message across online. Because any video done properly represents an investment of money and time, it is essential that we maximise the mileage on anything produced. This has seen an increase in the amount of ‘atomisation’ of content – splitting projects into a large number of outputs. These can then be optimised and shared on different social/owned platforms. This optimisation includes varying the content, the length and the aspect ratio (using square video for Facebook/Instagram).

Breast Cancer Now Square VideoSquare video works particularly well for Facebook and Instagram

We recently delivered a follow-up series of 10 to 20 second soundbite films edited from material which hadn’t made it into the original project’s outputs. This gave that client a series of cost-effective videos which worked well on Instagram Stories. This added another phase to the campaign without having to pick up a camera.

2. Quality content wins

The last year has seen our clients work with us on some of the best films we have ever made. The importance of pace and brevity has definitely caught on. It is now accepted and understood that shoehorning additional messaging into films does not increase the amount of information that the audience takes from them.

This is an important step towards better, more impactful work. There is so much content pollution out there, it is increasingly important for the material you share to be of a decent standard. This does not necessarily mean spending huge sums, but it does mean that you should take the time to consider what you are trying to achieve.

From here you can assess the best way to get there. The days of poorly produced, shaky user generated content being acceptable for global brands to share are thankfully numbered. That said…

3. We're all filmmakers now

We all have the means to shoot high quality video in our pockets. This makes the format even more accessible than it was before. Whether it’s a company news update or explaining a new advertised recruitment role, it’s never been easier to share video content. Coupled with how much more engaging video is, this is an excellent way to make sure that your message is heard online.

 jakub-gorajek-188614

To keep in step with this, it’s worth helping your staff to use their equipment properly and developing video branding guidelines and packs which can help to standardise the look and feel of your output.

4. Increased personalisation

This increase in the ease and speed of video production means that the next development we should expect to see is better personalisation. Whether you are creating video specifically for an individual or for a small targeted group, your audience want to engage with content which is perfectly aligns with their worldview. The most effective communicators should be looking at ways to tailor their content to the audience in order to do this.

 5. Going live

Live streaming on the various social platforms has really come of age. It’s growth over the last three years has been really significant. It works because it feels personal, immediate and engaging for the viewer. This contributes to the increases in engagement that those sharing live video can enjoy. This is a trend which will run and run.

6. Getting techie

Virtual reality, 360 and Interactive have all continued to come of age, they give communicators an excellent opportunity to excite and interest audiences. This is particularly true at trade shows/conferences, where the spectacle of the equipment being used can add to the buzzy nature of the technology. Beyond this, we have seen uses of new technology used as a tool to enhance the message, moving significantly beyond the gimmickry of some of the early adoption.

Casual Films Vodafone VR HeadsetStill from Vodafone EVP

7. Inherent content value is more important than ever

Your audience are more distracted than they have ever been. With more of them accessing your content through their mobile devices than ever before, they are empowered to choose how they spend their time. This means that communicators have to offer content which carries its own inherent value. As marketing guru Seth Godin says, you should aim to create material which your audience would "miss if it wasn't there."  This is a high bar, but an essential one to clear if we are to stand a chance of standing out and landing our messages with the audience.

8. Brands move closer to operating as media companies

Given its accessibility and the online audience’s preference for video, it’s not surprising that more and more brands are thinking far more like traditional media companies. For some time now, there have been outliers - RedBull, GE, Volvo Trucks - who have used video to communicate and develop significant additional brand value. This is a trend that looks set to continue and accelerate over the coming months and years. To capitalise on the opportunity that this represents, brands should have a coherent content plan, which serves their audience the material they are after in the form that they prefer.

Alfa Romeo No Longer a California DreamBrands as media companies - Alfa Romeo: No Longer Just a California dream (with WSJ Brand Studios)

9. The evolving role of the production company

Given all this change and the requirement to create more content than ever, it’s not surprising that clients expect their supplier relationships to evolve. To help clients get the most from the relationship, production companies are moving into the role of content partners. This means working seamlessly together, supplementing each other’s resources and abilities as necessary, allowing each party to play to their strengths.

Whether that is some communications consultancy or the creation of some animated stings to make some internal user generated content look more professional, the relationship of the future will be based on flexibility and understanding.

10. Storytelling remains the cornerstone of effectiveness

Whatever the purpose of your video or how it is are executed, storytelling and narrative remain central to landing creative messages with any audience. New tech and evolving approaches should be used to enhance storytelling, rather than as a crutch for poorly thought through creative. Used properly though, they make 2019 the most exciting year to be a corporate/brand filmmaker yet.


New call-to-actionWe’d be really keen to hear what you think about this list – please leave a comment below. If the pace of change feels intimidating, you can console yourself with the fact that you don’t need to do it alone. Book a call with one of our producers and we'd be happy to discuss how you can make 2019 your most successful year yet.

Topics: Being a better commissioner, Repurposed content, Atomised content, News

What are the roles in video production?

Posted by Nick Francis
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There are a number of different people/roles involved in the production process. We’ve included this brief list so that you can keep up with whom is responsible for what. Each company may work in a slightly different way, but the responsibilities are more or less the same. Nearlyall of these functions are needed on every production – even if they are all performed by the same person. Larger budgets allow for more time, and more time allows for more people.

Just producingA producer, just y'know producin'

Preproduction

Creative/scriptwriter

The creative comes up with the main idea (or ideas) and then creates the initial proposal document, which will help you understand exactly what you’re getting. This may include the mood board (a collection of images that give an idea of what the project will look like), the storyboard (a shot by shot – usually drawn – illustration of the structure of the video) and any additional references that might be necessary.

He/she also writes and refines the script.

Producer

The producer is the organiser. He/she is responsible for bringing together all of the elements required for the production. He/she is the lynchpin 

in that they are responsible for making sure that the film is delivered on brief, on budget and on time. As part of this, he/she will pull together the project costing and schedule, which will be added into the initial proposal document at the outset of the project. He/she will also be responsible for all the bookings for the project, from crew, equipment and onscreen talent to travel. He/she is usually the main point of contact for the client throughout the process.

Production

Director

The director is responsible for the artistic vision of the project. He/she works with the script and the producer to plan the execution of the shoot. On set, he/she will have a clear idea of what he/she wants the finished film to look like, and will coral the rest of the team to achieve this. The days of the ‘auteur’ film director – one who will happily trample over anyone to achieve, with a distinctive, unshakeable vision – are happily behind us. Most good directors now – in particular, those in the fast-moving world of brand films – are able to think on their feet, lead a team and use an in-depth understanding of their craft to adapt to the world around them.

A director directingA director, watching a live-feed from the camera to make sure all is in order. Well, that or Netflix.

Director of photography (DoP) / cinematographer

The DoP is responsible for the camera / camera team and the way each shot looks. This means that he/she will often operate the camera (shoot the film) and do the lighting on set. Usually, having a separate DoP is reserved for larger productions.

Self-shooting director

Casual Films self-shooting director

As technology has become easier to use and budgets have shrunk, it has become more common for a director to play the role of the DoP at the same time. This leads to them being referred to as a self-shooting director. Self shooting directors now tend to shoot the majority of online videos.

Camera assistant / focus puller

The camera assistant is responsible for looking after the camera and lenses. He/she is also responsible for marking distances and keeping the shot in focus. (Only used with more high-end or DSLR cameras.)

Focus puller, DoP, Dolly GripA panoply of roles! In L-R order - camera assistant/focus puller, DoP and dolly grip who is responsible for operating the dolly, which is what the trolley the car sits on is called.

Sound recordist

Erm, they record the sound. They can make all the difference to a production that has been shot in a noisy location. He/she is most likely to say, “Can someone turn that air conditioning off?”, and is least likely to say, “Don’t worry, we can get rid of that police siren in post.”

First assistant director (AD)

The first AD is responsible for helping the director to achieve his/her vision. He/she is the one who keeps the production running to time and makes sure that everything is in the right place at the right time. When used, he/ she is the director’s mouthpiece on set. (Only used on larger productions.)

Gaffer

He/she is responsible for the crew who set and move all of the lighting. If there isn't additional crew present, they will roll their sleeves up and move the lighting themselves. (Only used on larger productions.)

Grip

He/she is responsible for mounting, positioning and moving the camera the camera (if equipment is being used). (Only used on larger productions.)

Grip workSome classic grip work

Spark

The electrician. Lots of production lighting requires huge amounts of power. To keep things working/safe, it’s necessary to have a professional spark.

Postproduction

Editor

The editor is responsible for ‘finding the film’. They watch all of the shots, and then select the ones that he/she feels best tell the story that was outlined and agreed on in the preproduction stage. He/she will also have a significant hand in the impact of the finished film. It’s amazing how important the editor is to the quality of the final film. Often, a poorly edited film can terrify on first viewing, only to be completely turned around once someone who knows what they are doing has taken the reins. 

36520007Dan, an editor in his natural environment

Animator / motion graphic artist

Animators bring 2D illustrations, 3D models and inanimate objects to life. He/she is skilled at imbuing inanimate objects with the movement required to generate emotional connections with the audience. He/she may also be responsible for creating the design and storyboards for the animations.

 

Paper animatingRaych doing a little table top animation

Dubbing mixer / sound engineer

The dubbing mixer / soundie sorts out all of the audio levels in the final video, and adds any sound effects and audio flourishes. These play the important role of tying the audio and video together. The sound engineer will also make sure that the music that has been chosen fits to the edit/ animation perfectly.

Colourist / colour grader

The colourist is responsible for the look of the finished film. Sometimes different shots might look different because of different lighting/colouring during the production – he/she can iron this out. He/she may also stylise the film, which is changing the way the video looks by increasing the contrast between colours or changing the colour saturation (a bit like adding filters on Instagram). While colourists used to work only on larger productions, consumer-accessible grading programs are making this step integral to nearly every production.


We hope that helps. Whatever you are working with all these fine people, it's worth starting out right. You can make sure that you do this, by downloading our guide to writing a briefing document right here:

DOWNLOAD BETTER BRIEFS

Topics: Production process, Being a better commissioner, How-to

Using Interactive Video for Attraction and Recruitment

Posted by Nick Francis
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What is Interactive Video?

Interactive video allows the viewer to choose their own path through the content. It uses a similar methodology to traditional 'choose your own adventure' books. These would allow the reader to read a page and then ask them to choose what should happen next in the story. They were able to do this by flicking to a different page, depending on the desired choice. Interactive video platforms do the same thing, but they automate it, so that all the viewer has to do is click the button they desire and it will lead them through to the next step in the story. This allows the viewer to control their experience.

Why is it useful for recruitment and onboarding?

Interactive video is an extremely useful tool for recruiting and training because it gives the audience more opportunity to find out information on their own terms. It also allows the recruiter to working in tests and gamification which can make for a more valuable, enjoyable and socially sharable experience. Another benefit of interactive, is that it encourages the audience to engage more closely with the content. It is a far more involving experience, which leads to a more proactive response when it is finished.

 Experience a role, company, position

Allianz Global Investors - The Investment Factor

Then there is the benefit of allowing a potential candidate to ‘poke around’ and learn more about your business, the role and what they can expect from the job. This is illustrated by the ‘Investment Factor’ which Casual UK produced for Allianz Global Investors. Allianz GI wanted to help graduates to understand what investment bankers actually do. They also wanted to combat the negative perceptions in the market. 

We made a similar film for ABinBev with recruitment marketing agency, Havas People:

AB InBev's Interactive Culture Fit Tool

This case study video demonstrates the power of interactive to illustrate company culture and what is expected of new joiners early on in their career. Brewer ABinBev commissioned the project in part to combat the number of people who applied for roles with the company and then were shocked to find that every day wasn't spent tasting or drinking beer. 

Both of these videos won Best Interactive at the Recruitment Advertising and Design Awards in London.

Interactive and Virtual Reality (VR) 

One interesting way to use VR is in showing off different areas that your potential employees might end up working. You can see how this might work in this example, which while not strictly recruitment, does a good job of introducing the viewer to the space at the Old Vic Theatre: 

Casual Films - VR Case Study - External

Forgive the fact that this has the same music as the Allianz GI film - we're so cost-effective, we seem to have reused it!

Casual's Top Three Tips for Interactive

1. Have a reason for it being interactive.

Too often commissioners/producers use different production/distribution methods as a crutch for poor storytelling. It is essential that the fact that it is interactive serves what you are trying to communicate. Build it and they will come doesn’t work here. Look at the examples above if you need a little inspiration.

2. Plan, plan, plan. 

Looking at a decision tree, it can be scary how complicated they can be. There are a number of specialist providers who can help you bring the whole thing to life. All you need to do is have a clear plan with a scene list and then shoot each scene as you would if you were making a normal film with a linear narrative. The key is working it all out logically on paper and then, when you’re happy, get going.

3Get to the interactive early. 

It’s useful to establish for the viewer that the video they are watching is actually interactive. Too many interactive videos fall into the trap of having too much establishing material before the viewer gets to make a decision on anything. They know that they are supposed to be making decisions and so get bored quite quickly if they have to wait. It can be something really simple, but get them to engage early and establish the mechanic for the rest of the video.

If you are thinking about creating some interactive video, and we would recommend it, because we love it. Drop us a note on: hello@casualfilms.com and we'd be happy to discuss how to approach it, no strings attached.

 

Topics: Attract and retain the best candidates, Being a better commissioner, How-to, Interactive Video

How can corporates use video?

Posted by Nick Francis
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One of the major challenges we had when we started Casual was that video can be used for such a wide range of things. Before we realised the importance of focus, we would answer the question “So, what can you make films about?” with the pretty useless “Almost anything”. Over time, we learned to be a bit more specific, and, in the last 12 years, we have made films that bring the whole of the employee lifestyle to life, from initial awareness, through recruitment, and on to ongoing engagement, and learning and development. We’ve even made films that retain and build a network of alumni for those who’ve moved on. We’ve made product promotions, adverts, discount films, branded content and conference openers. Some of these with actors and others with online influencers, with helicopters, drones and bodycams.

Casual Films Different ways of using video

Casual has made over 8,000 different films for almost everything a company could want a film for. It’s really important to understand that film or moving images can enhance any message you might have to share. Video is a great way of weaving emotion into selected facts. This increases their impact, memorability and the chance that people will act on them. Let’s look at some of the ways that video has been used by corporate communicators.

We use the following classifications at Casual to separate all the different things that our clients have used our work for in the past. This is not exhaustive, but it does give a picture of the breadth of uses. Some of these are quite similar – or even overlap – and rely on similar attributes of video for their effectiveness.

Boost sales 

“Shoppers who view video are 1.81X more likely to purchase than non-viewers.”

– Adobe

The most common films made by companies, which we see in our day-to-day lives, are those designed to sell things. From the dawn of TV, advertisers have been promoting their wares, using every trick in the filmmaker’s book to introduce, promote and explain their products. Films that are able to do this remain the kings of corporate films. From the time in the 1940s and 1950s in which advertisers were able to show that there is a direct line of correlation between the amount spent and sales increases; the budgets for these short films have grown, in some cases to become eye-watering. The annual colosseum of televisual advertising – the US Super Bowl – boasts vast audiences, and hence has a cost of around US$2 million for a 30-second advertising spot. Each year, companies compete to outdo one another and be recognised as having the best commercials of the night.

 

Greater Anglia - Spring Campaign

 

Promoting sales with animation: Greater Anglia Railways

At the other end of the spectrum, the prevalence of regional TV and now the spread of the Internet have made this type of marketing accessible to any business that wants to use it. There are a wide range of approaches available, from the relatively indirect to the focused sales activation described previously.

Encourage donations/funding

The emotive power of video makes it an excellent tool for pulling on the audience’s heartstrings, and getting them to part with their money or time. I’m sure you are aware of the way that charities have used videos since the 1980s. These can also extend to Kickstarter and crowdfunding campaigns. Video’s ability to simplify a message into a really compelling minute or so makes it excellent for this.

Introduce a business

As with encouraging funding, the ability to compress time and turn a ‘who we are’ PowerPoint presentation into a punchy 60-second promotion with music and branded graphics/colours makes video a useful tool to clarify exactly what your business does. The majority of websites that we have audited – over 1,000 thus far – are not using video on their homepage.11 They rely on the visitor being able to grasp what the business does in the few brief seconds before they click elsewhere. It is a truism that people/businesses tend to market to themselves. As such, there is always far too much assumed knowledge, which makes websites impenetrable.

A video is a great way of capturing attention and explaining, in an accessible format, what the visitor should be looking for. This is why having a video on your homepage can improve click-through rates by up to 80%. This video can also be used in presentations, pitches, reception areas and for new joiners/potential recruits – anywhere you might want people to quickly understand, through compelling media, who you are and what you do.

Promote a product or service through explanation 

“4x as many customers would rather watch a video about a product than read about it.”

– Animoto

Explaining succinctly what a product or service is or does is another effective use of video. Once again, most businesses communicating anything assume too much background knowledge. In this instance, video can break down exactly what the product is and does, and build trust and understanding in an accessible package. This may be through an animation, which is effective when used to illustrate complex messaging, because of the ability to ‘show and tell’ at the same time as using accessible metaphors.

Another effective way to promote a service is through interview-led videos with experts, clients or users. These increase the audience’s trust in the product by borrowing from the featured subject’s standing: their expertise or experience. Interview-led films or ‘talking heads’ are useful because they are pretty much the cheapest videos to produce, and we find human faces innately intriguing.

Get people excited

The moving nature of video makes it a great tool for exciting an audience about something. Admittedly, this could be an extension of promoting a product or service. However, it is distinct in that the method is less based on relaying information and explaining, and more focused on generating a positive emotion in the audience. One way of looking at it might be to say that explainer films engage the logical left side of the brain, while a film to get people excited targets the feeling, creative right side. These usually employ a stirring script and a voiceover with powerful music to do this. Both of these types of film, explainer and exciter, aim for the same outcome, though – getting the audience more engaged.

Increase brand awareness / tell a story

In reality, all the video content that companies share has the effect of building (or, unfortunately, sometimes damaging) their brand. Some videos are made specifically for this purpose, though. They may aim to align the business with a cause that matters to their target audience, or reflect on someone or something that they’re interested in. It may extend to them wanting to share a story related to the company – the history or something that has inspired them.

 

Glenmorangie - Evolution of Craft (1)

 

Increasing brand awareness: Glenmorangie - the Evolution of Craft

Attract the best candidates

Video is an excellent way to illustrate relatively intangible things, such as a company’s culture. Most people looking for a role at a new company will research what the job is about, beyond what is included in the job description. Video is a great way of sharing some of the things that make your company special.

Casual Films SGOSS Recruit and Engage

Illustrating your culture: SGOSS - Become a Governor

In the hypercompetitive job market one of the best areas for businesses to compete in is through an engaging, motivating and, crucially, well-communicated culture. Video can be invaluable in helping to build that culture, through communicating what the concept of the brand means. This is where video can be invaluable – it allows you to communicate with your potential (and current) staff on an emotional level. One point to note is that, in the age of resources such as Glassdoor (which allows employees to rate employers for all to see), it is important that the offer and reality align. Recruitment videos are split into two categories: employer/employee value-proposition brand films and profile/day-in-the-life films.  

Videos to promote and clarify a company’s diversity and inclusion policies should be included here too.

Train my colleagues

Another type of internal communication that uses video is learning and development. The zero cost of distribution, and the ability to make changes and amendments to videos on an ongoing basis makes them useful for sharing information and training across a large organisation. Animation works well for information, and interactive video is good for training, because it allows viewers to choose responses and outcomes. The functionality of interactive video also allows for scorekeeping and sharing, which is a useful way of injecting a little competition into the learning process. Beyond that, simply being able to show videos and then have people discuss them helps to increase the effectiveness of the learning.

Change behaviour

The external equivalent of internal training, making films to inform and change behaviour, is nearly as old as film itself; for example, the public information films that were used to keep the population up to speed in the first half of the 20th century. The modern equivalents are usually produced by governments or charities.

Start a discussion/conversation 

Video removes any unnecessary information and pauses. This condenses the amount of time it takes to share different viewpoints in an argument, which makes it useful for setting up a discussion. Such videos are usually played at the beginning of an online/offline discussion, or to change to another subject.

Recording an event

The quality of an event film is, understandably, usually tied to the quality of the event itself. It is a useful way of encapsulating what happened, what was discussed or featured, and who was there. With some appropriate music and a dynamic edit, the video becomes a useful tool for promoting forthcoming events too.

But not everything – emotion vs information

All this having been said, there are some things that video is not great at. Emotion and information exist in a balance in all films. Too much focus on emotion – with practically no information – and the film can feel superficial and lacking in substance (think of most fashion ads). Too much information and not enough emotion, and the film will be dry, difficult to follow and impenetrable (some corporate reports embody this pitfall).

They should be like yin and yang. In every informative film you should have a bit of emotion, and in every emotive film you should have a bit of information (even if that is a basic narrative structure). Because of this, if you have lots and lots of information to get across, video might not be the best way to do it. You will probably find it more effective to create a PDF document, use video to outline a few salient points and promote reading the PDF through a shorter, more engaging film.


Whatever you're making a film to do, it really helps to be clear on what you are trying to achieve from the outset. We pulled together some top tips on how to get your thoughts aligned before you pick up the phone. Following the ideas in this document is the most significant step that you can take to maximise the effectiveness of your project spend. Check it out here:

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Topics: Attract and retain the best candidates, Train and develop staff, Explain or promote products and services, Increase brand awareness and appeal, Boost sales and encourage donations, Production process, Being a better commissioner

Attracting and recruiting tech savvy grads with video

Posted by Nick Francis
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It’s a common challenge. All businesses now are tech businesses and so need the best tech savvy talent to survive and thrive. The big problem is that the best talent wants to work for the FAANG companies: Facebook, Apple, Amazon, Netflix, Google. Not only do these companies seem glamorous to a young grad from Birmingham – Alabama or the West Midlands – they have impossibly deep pockets. They put forward a compelling offer – so what should you do?

Avis in the early 1960s was perennially second place in the market. Try as they might, they just couldn’t dislodge Hertz from number one. They turned to advertising agency Doyle Dane Bernbach, who decided that rather than a weakness, their No 2 status was a strength. It meant that they couldn’t afford to be anything other than the best. The ‘We Try Harder’ slogan was born. In the end is ran for 50 years and became the arguably the best challenger marketing campaign ever. It was so successful that for a time, worried Hertz execs joked that Avis would soon have to stop running it, because it would cease to be true. 
 Avis No 2 Manifesto     

At the time, the idea that a company would admit that it was anything other than the best in their market was anathema. It opened the door for a whole new way of thinking about and marketing challengers in the market place – think DDB’s ‘Think Small’ ad for the VW Beetle. If we jump forward to the modern world, the ability of companies to be open about their shortcomings is a valuable part of building trust with your employees. We’re living in the 'Age of Transparency'. They know you’re not perfect, so don’t jeopardise your relationship with them by pretending you are. Fess up to the reality. Through this you can capitalise on the opportunity that is open to you.

Your Greatest Weakness is your Greatest Strength 

 

“Every adversity brings with it the seed of an equivalent advantage”

- Napoleon Hill

 

In his classic book, Think and Grow Rich, Napoleon Hill tells the story of his deaf-mute son, Blair. He was examined by a wide range of doctors and hearing specialists, all of whom told him that he would never be able to hear. This was the early 20th century, so hearing aids, support, even normal life was beyond most people in a similar condition. Despite this, throughout his early life, Hill told him that the deafness that he was born with was in fact his greatest strength. Blair put complete faith in his father that it was.

He persevered through schooling with very little in the way of external help. This made him extremely driven to succeed. When he wanted something, he would work to achieve it. His elder brother on the other hand did not have the same disability and so lacked this hunger.

Blair was completely deaf until he received a hearing aid, while at college. He was completely blown away by being able to hear for the first time in his life. He contacted the hearing aid company and worked with them to improve their marketing so that they could reach hundreds of thousands of deaf-mute people all around the world. He created a school to teach similar people to hear and speak for the first time in their lives and helped many thousands. Has he not had the belief in the opportunity that his weakness offered him he would never had been able to change the lives of so many people.

Great. What does that mean though?

The point is that you are in the position of a challenger. The fact that you are not a FAANG company is your greatest strength. These companies are great in many ways, but they are not as young and fast moving as they once were and tech is the heart and soul of their businesses. If you are a financial, automotive or drinks brand you can offer the whole tech experience, but you also have a whole other level on top of that. This represents an exciting challenge for those who want to grasp it. The point is, you can’t beat them at being them, you need to beat them by being you. You need to be bold, be different and be real. What do we mean by that though? 

 

Vodafone - Equal in Work (2)

 

Being Different: Vodafone

One of the challenges that Vodafone has is that most grads think of them as a company which operates mobile phone shops. In reality, they are a hi-tech communications company with opportunities for staff members to travel and work all over the world. One thing which makes them particularly special is that they have an extremely accepting and inclusive culture. Because of this, they have set out to be the No.1 employer for women and LGBT+.

This means that they can share really engaging and thought provoking and content like the video above. It is an extremely clear illustration of their purpose as a business. Through sharing this in a wide variety of their content they allow potential employees to decide to align themselves with the brand. This leads to better recruits and far more engaged employees. We will share another post on the value of purpose in recruitment and engagement soon. Watch this space.

 

BMW - Social Banner - Facebook (2)

Being Bold: BMW

Few clients are willing to be really be bold when it comes to it. We start many projects with high aims, but the reality is that it takes guts to go for take the breaks off. BMW are a company interested in how they can attract the best tech-grads to help them become a transportation provider of the future. In order to deliver on this goal, they need to attract top software engineers who can build and integrate the technological complexities that make a modern car a driving computer. This is a challenge for a company that is over 100 years old and is not necessarily the first example that a possible recruit would think of when listing tech focused companies to apply to. 

The BMW Facebook page benefits from lots of views, but too many of them were bouncing off. There was also a disconnect between the consumer (outward facing) brand and the employer (inward facing) brand. The brand Facebook page is a delicious (if you like that kind of thing) collection of glossy car shots, while the recruitment page left a little more to be desired. Luckily, they had lots of material from the main brand which could be repurposed into something very different to the traditional employer brand. They wanted to use that to sell the excitement and energy of a job at the company. With the addition of a some specially shot narrative footage and sound design, the Facebook page was transformed. Leading to significantly better visitor retention - differentiating the page for visitors. This was only possible because they we willing to push it and do something different.

 

Capital One - Tech Profiles 'Jasmine'

Being Real: Capital One

These profile films for Capital One, are designed to show the personality of each interviewee without getting in the way with any overt brand messaging Your audience are extremely adept at spotting 'spin' - this is particularly true for ultra savvy techies. It's important to remember also that if you are featuring your employees from the same target group, you need to let them 'talk their language' to their contemporaries. You need to make sure that they sound the same, but are effectively subject matter experts. It's too easy for brands to want to control the precise messaging featured in their films, but this is almost certain to alienate the audience and damage the content's effectiveness.
 

So...

In reality there are a wide range of ways that video can help you to target these hard to reach grads. Each of these three approaches work for their audience, but there is no reason why they shouldn't work for you. There is nothing from stopping you from combining one or more of them. The most important thing for you to do with any project is to be really clear at the outset what you are trying to achieve.  We pulled together a worksheet to help you to start off any project on the right foot. You can download it right here:

 

DOWNLOAD BETTER BRIEFS

You may also be interested in the Attract and Recruit the Best Candidates with Video page. 

 

Topics: Attract and retain the best candidates, Being a better commissioner, How-to

Cause marketing - actions matter more than words...

Posted by Nick Francis
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Cause marketing - marketing with the dual aim of bettering society and driving profit is more important than ever. Important because frankly, society and world need all the help they can get, and because it’s a really effective way of improving the way your audience think about your brand.

Casual Films Cause Marketing

Cone Communications has been running an annual study on the efficacy of cause-related marketing. It found that this is no longer a differentiator, unless it is also accompanied by a genuine effort by the companies to demonstrate they are achieving an actual impact.

 “[Cause marketing] is no longer a competitive differentiator unless it is also accompanied by a genuine effort on the part of companies to demonstrate how their efforts were making a real impact on achieving results.”

– Cone Communications

Unfortunately, this shows it’s not enough to simply talk about the great projects that you are putting money into. Audiences are far more likely to talk about what a brand did than what they said. This means that, in order to make taking a more conscientious approach work for you, you actually need to get your hands dirty. You must ‘live your purpose’. It should shine through in everything that you do. Failure to do this leads to a perceived lack of authenticity in the eyes of your stakeholders, which, thanks to social media, will do disproportionate damage to your brand.

It is also important to get intricately involved in the causes that you wish to benefit in order to avoid the charge of ‘jumping on the bandwagon’, as Pepsi found with their Kendall Jenner protestors spot...

 

Getting it wrong: Pepsi and Kendall Jenner

Whatever cause you decide to get involved in, it’s essential that your brand has an authentic attachment to the cause. This cannot just be lip service. It is also extremely important that you understand the nuances of the issue and don’t trivialise it through superficial understanding. Pepsi’s Kendall Jenner commercial shows her giving cans of Pepsi to police officers, seemingly with a view to reducing tensions at a Black Lives Matter protest. The idea that Jenner, who is white, could turn up and solve the situation with a can of soda was seen as extremely insulting and out of touch. Social media did the rest, culminating in the 18-year-old model sharing a video, with her crying and begging the forgiveness of the masses.

Casual Films Kendall Jenner Pepsi

It might be tempting to move away from cause-related marketing as a result. The key point here is that if you are going to take this route, which you should, you need to get involved at the root, make a difference and then tell that story. It is not acceptable to simply say, from a disconnected position, that you ‘believe’ in good causes. It is necessary to actually become involved in them, to understand them and to benefit them; to use your considerable might to work towards a solution, no matter how small the step you enable might be.

 

Greenwashing

greenwash

/ˈɡriːnwɒʃ/

noun

Greenwashing is marketing that intentionally overemphasises the green credentials of a business activity, while downplaying the actual negative impact. As a term, it was first used by Jay Westervelt in an essay criticising the hotel industry for their habit of leaving cards in their bathrooms asking their guests to reduce the amount of washing that is done by not leaving their towels on the floor, from where they would have to be washed. Westervelt showed that, far from being motivated by the environment, the hoteliers were in fact motivated by the reduced costs it would incur, thereby increasing their profits.

It is not a new thing though; in 1969 alone, public utilities spent more than US$300 million on advertising their green credentials – more than eight times what they spent on the anti-pollution research they were touting in those ads.

Greenwashing became more elaborate through the 1970s and 1980s, to the extent that in 1990, on Earth Day 20, one-quarter of all goods launched in the US were marketed as being “recyclable, ozone friendly and compostable”. In 1985, Chevron launched their People Do series, which was aimed at those who were societally conscious and hostile to the company. The ads featured bears, eagles and animals, and underlined how hard the company’s people were working to protect wildlife during their work. These ran for 15 years and became a textbook case of how successful greenwashing can be, leading to a 10% jump in sales and a 22% jump among the hostile audience target group.

Greenwashing in the current ‘post-truth’ age is alive and well. The bottled-water industry, for example, leans heavily on imagery of the natural world in its marketing, and trumpets the reduction in plastic used in its bottles, while its products continue to have a severely negative ecological impact. Only 31% of plastic bottles consumed in the US are recycled. With so much demand for ‘green’ products (72% of millennials will pay more for environmentally sustainable products), it’s not surprising that businesses are keen to stress their credentials.

 

If you're interested in getting a few more tips on how to make better, more effective videos,

you can download our our TOP TEN tips right here:

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Topics: Being a better commissioner, How-to, Purpose driven video

The Video-Production Process / How to Make a Film

Posted by Nick Francis
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Most people have got an idea of the different steps that go into the production of a video. Here, we thought we'd take a moment to outline each of the different steps so that you can see how it all fits together. Of course, the way different companies, producers teams make films might be slightly different. The general principles explained below should ring true though.


We made a film about this many many moons ago. Lots of the Casuallers featured in this video have moved on to new pastures. Those of us who have remained are slightly greyer, slightly wrinklier and less annoyingly youthful (ish), but it still gives a good grounding in the process:

Casual Films - How to Make a Film

So how does it work?

Simply put, we need to think about what we’re going to produce, organise it, produce/create it and then share it. This means that productions break down into the following four stages:

1. Preproduction

2. Production

3. Postproduction

4. Delivery


Preproduction

This is where we do all the work to understand what the right thing to create is. This pre-creative/brief-writing stage is arguably the most important in the whole process. This is often not given enough time in the desire to get on with the hands-on project. Needless to say, clear insight gained here is far cheaper to put into action than that gained when the film is finished and delivered. It is remarkable how many times I have made films with global brands, only to reach the end of the process and have someone who wasn’t consulted early enough ask, “Why are we making this, anyway?”

Want a little help creating effective briefs? You can download it right here.

Once we have this, we can start to think about how you are going to achieve all those objectives. This is known as creative or scripting. Creative tends to go through a number of iterations, until everyone is happy with it.

Once we have an agreed creative idea, we can start to organise all the things that are required to accomplish it. This will include an outline of the different actors/interviewees, props and locations. Making a film is very similar to organising an event. The event of physically making the film is called production.

Production

The hands-on production of the film is usually relatively short compared to the rest of the project. It is also often the most expensive stage in the project. This is because we can have lots of people in the same place at the same time. As we covered earlier in the book, the cost of the production phase has come down drastically since the days of scores of crew being required to get a decent-looking result. Today, a single self-shooting director/filmmaker can achieve a surprisingly high-quality output. That said, there are still elements that can add to the cost of the project. These include a large number of actors/extras, shooting in locations that require travel/accommodation for the team, and specialist production elements such as drones, underwater cameras and cranes.

Postproduction

Once it’s all been shot – ‘in the can’, if you like – the film then goes into the edit. An editor goes through all the material that was gathered during the production phase and selects the best moments from what could amount to hours of material. Many purists argue that this is true filmmaking, as it’s where the film is actually made.

The first step is to get to an initial assembly cut. This is made up of all the best shots, which are pulled into a basic running order. This is also called a rough cut. The film now goes through a series of back-and-forths between the editor/producer and the various project stakeholders. If the editor is ‘chunking’ (splitting) the video for a number of different edits to be shared on social channels, he/she will tend to work on one main output, to get that right before moving on to the other cuts. This allows the editor to familiarise himself/herself with the footage, and to establish a style that the stakeholders are happy with.

Felicia Producing Casual Films


Three films?

It is said that, in the process of making a film, the creators actually produce three: there is the film that was initially conceived in the creative phase, the film that they believed they shot during production and then the film that is actually there once the editor has finished his/her work. Needless to say, it is the third film that remains to be shared and known by the world beyond the production team. This trope underlines an important aspect of filmmaking: be clear on what you are trying to achieve, but be prepared to incorporate positive additions as they occur. It is almost impossible to plan for every single eventuality that might befall the production. The best work comes from taking the events that occur – a beautiful sunset, a perfectly timed bird flying through the shot or an accidental nudge of an edit that just works – and being ready to integrate them.


Finishing

Once the project sponsor is happy with the edit, it is sent for a few final tweaks. At this stage, the titles, graphics and any final visual flourishes are added to the film. The picture is then considered to be ‘locked’. This means that no one can make any more changes to the project’s visuals.

Then, the edit is colour graded. This step tweaks and stylises the colours to make sure that they are all uniform and stylistically fit the story. For example, adding a blue hue to scenes filmed at night.

Sound design

The film is then sent to have the audio finished off. This includes having any sound effects and composed music added. Then, the sound designer tweaks all the levels of the audio to make sure that the volume is consistent, the dialogue is audible and it all sounds right. With modern content becoming as disposable as it has, this may not happen on every production. In that case, it comes down to the editor to give the film a once-over to make sure it is all good instead.

Delivery

We now have the finished output/outputs, but the whole process has been for nothing if the target audience don’t get to see it/them. This is where the delivery method comes in. There are many, many different ways of getting your content seen, from Facebook banners to bus-mounted video screens. What is really worth doing, though, is including the distribution method in the briefing phase. This allows the production to be tailored to make the most of the displays that the outputs will be shown on or the different ways that people view each platform.

Topics: Production process, Being a better commissioner, How-to

Building trust in the era of fake news

Posted by Nick Francis
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The ‘Age of Transparency’

The Technological Revolution has changed the nature of communication: it is no longer simply the few with the means broadcasting to the masses without. Communication is now omnidirectional: everyone is broadcasting, commenting on and sharing each other’s messages. This environment presents significant challenges for corporate communicators in particular – consistency of message is key. Out of sight is no longer out of mind. In the globalised world, eyes and cameras are everywhere. Blue-chip megaliths can lose billions in market capitalisation from a single incident, with their reaction magnified to the world by omnipresent smartphones. This ‘all-seeing eye’ has illuminated areas that were closed off before. We have become more familiar with the workings of authority. With this familiarity, contempt has crept in, which has led to a general crisis of trust.

Nick Francis Buidling Trust in the Era of Fake News

Scandals in almost every field – for example, sexual harassment/#MeToo, politics, corporate malpractice, police mistreatment (e.g. Black Lives Matter) and hacked answerphones – have led to historically low trust ratings for the traditional pillars of power. Traditional broadcasters are suffering from an onslaught of new media and a resurgent, divisive political movement intent on dismissing discourse; this increases and aims to capitalise on the trust gap.

Set against this backdrop, it’s not surprising that trust has become a, if not the, watchword of business communications. Every business function – from product launches to temporary-staff induction – has to be performed as if the world is watching, because, frankly, it could be.

There is now a constant check on all of your operations and communications. Would-be citizen journalists armed with camera phones are everywhere, as United Airlines found out in April 2017 when their security staff forcibly removed a passenger from a flight at Chicago O’Hare Airport. What was once an anecdote shared among friends now has the potential to become global news, aided by the power of moving image. Put a foot wrong and whistle-blowers – both internal and external – have the means to call you out in potentially ruinous ways. This phenomenon has made various commentators describe the modern age as the ‘Age of Transparency.’

 

“Trust is built on authenticity.”

– Brian Tracy

Beyond the obvious complexities of operating in this ‘Age of Transparency’, lie the challenges of dealing with ‘fake news’. The ability to broadcast has been used by some to share their own ‘alternative facts’. These are then shared and amplified, undermining the public’s faith in everything they see online. While this has impacted traditional media and governments more significantly, it is still a key concern for those in business communications.

Have faith though. All new technology takes a little time for people to understand and use effectively. Think of the men with red flags running in front of early cars to warn pedestrians, or cell phones ringing all the time before society discovered the vibrate function. We are living through an unprecedented period of technological advancement, so it’s unsurprising that there will be some growing pains. As I write, some of our brightest minds are working on solutions to these challenges.

Credibility is essential. This is particularly true given that, according to PR giant Edelman’s Annual Global Trust Survey, 69% of those questioned believe that the most important role for the CEO is to make sure that their company is trusted. It is essential to build and maximise the trust of your audience – your employees, your customers and your shareholders – but it can feel like you are swimming against the current. So, how can your communications help you to do that?

 

1. Make it about the audience 

The most valuable thing you can do to make your content resonate, is to make sure that it is right for your audience. They know themselves better than anyone, so they instinctively know what rings true and what feels false.

 

2. Be mindful 

Be careful where you allow your brand to feature online. The whole online environment is not as low trust as might appear at first. There are trusted pockets. It is important to seek these out, and to avoid sharing content on large international platforms that are failing their users and advertisers in providing a space free from lies and hatred.

 

3. Act with humility 

Be prepared to share the challenges as well as the successes. The greatest stories, with the greatest heroes, are not defined by unremitting success. They are made great through adversity. Share your adversity; you will enrich your narrative and the audience will come with you.

 

4. Be transparent 

Brands have been forced to deal directly with complaints and criticism of their online profiles for several years now. Those who have taken an ostrich-like head-in-the-sand approach have suffered significantly as a result. It is not an option to not engage, and yet very few, if any, companies have actively welcomed that negative feedback at a deep level and used it to improve themselves. There are, of course, huge challenges in operating a global business. The audience understand this. As with the previous point, put your hands up and explain that you don’t have all the answers, but that you’re doing your best. They will love you for it.

“Being transparent is what gives our business its most important asset – trust. At a time when there is a crisis of trust in many institutions across the world, there has never been a more important time for business to play a leading role in restoring it.”

– Paul Polman, CEO, Unilever

 

5. Be consistent 

You will gain the trust of your customers through delivering quality and value in both the content you produce and your products/services. Consumers like to know what they’re going to get, and will prefer to go with something that they know will be a 7/10, rather than shooting for a 9/10 and risking ending up with a 3/10. This desire for the ‘known’ explains the success of business chains to a large degree.

 

6. Deliver on what you promise 

Don’t say anything that you can’t back up with action, again and again. 

 

7. Have a higher purpose

For organisations, these are aspirational by their nature, grounded in humanity and go beyond the profit motive. A business’s purpose is often referred to as its ‘North Star’ – an unattainable, guiding light, against which all activities are measured. It provides clarity for all the decision- making in the business, from the significantly strategic to the day-to-day tactical.

“Purpose is a long-term, forward-looking intention to accomplish aims that are both meaningful to the self and of consequence to the world beyond.”

– Bill Damon, Director, Stanford Center on Adolescence

 

Purpose has come to be referred to as the ‘Why?’ for a business, as outlined by Simon Sinek in his excellent book Start with the WhyIt should clearly articulate the stance of the business, allowing everyone who comes into contact with it to identify whether it aligns with their own value structure and aspirations. As this alignment grows, it graduates to a state that stakeholders are able to describe as ‘belonging’.

This desire to belong to a tribe answers a base yearning within us all. Many of the most successful businesses of our time – Zappos, Ben and Jerry’s, and Apple – have grown through the successful propagation of a tribal belonging among their staff and customers. This is only possible through a powerfully articulated, clear purpose.

This success has led to purpose becoming en vogue for much of the business world. It’s no longer enough to exist to ‘maximise shareholder value’. In the post-2007 world, purpose- and cause-driven business is more important than ever.

We'll return to the purpose of purpose to the content of your content very soon. Watch this space.

 

Topics: Attract and retain the best candidates, Increase brand awareness and appeal, Being a better commissioner, How-to, Purpose driven video

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