Webinar: How to get great videos made with Vodafone

Posted by Nick Francis
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We're extremely grateful to Vodafone's Global Head of Learning, Catalina Schveninger who was kind enough to share her time and ideas with us in the first of our Better Video Power Hour Webinars. We managed to cover a wide range of thoughts and ideas in just 40 short minutes so there's lots in there for commissioners and producers to benefit from. 

Catalina started out in HR in 2002 working for GE. Since then she has worked in a variety of international roles, including T Mobile in the Netherlands. She joined Vodafone in 2014 as their Global Head of Resourcing and Employer Brand. Over the year she has commissioned a wide variety of content projects and so is well placed to share how to get really effective work made. You can watch the recording of the webinar here.

Vodafone - Hero

Vodafone - Youth Hero Film

This is one of the films that we discussed with Catalina - an attraction piece for younger potential employees. She was at pains to say that if your finance department don't like the content you're producing to attract a young audience to find out more, the chances are it's about right. She shared how you can build support to help to get the content that needs to be made made. Given the amount of noise in the online environment, making content which doesn't differentiate is not an option.

Some of the questions we covered include:

  • Why use video?
  • How to get creative ideas made within a large corporate?
  • Who is doing it really well?
  • How to get your videos seen?
  • The importance of purpose in internal engagement?

If you missed it, don't worry you can watch the recording right here. We will also hold another one on the 18th September (exact time TBC) on how to get the most from your existing videos/assets. Special guest to be announced.

Vodafone Attract and Recruit Casual Films 2Click on the image above to watch the recording


If you have a project that you would like to discuss, please drop us a note, an email or a call. Our experienced producers are ready help make your next project the best ever.

If you are keen to kick your project off on the right foot the best thing to do is to get your brief exactly right. You can download our guide to doing that right here.

Topics: Attract and retain the best candidates, Train and develop staff, Production process, Being a better commissioner, How-to

Even films about compliance can be great…

Posted by Nick Francis
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One of the best things about being filmmakers is the breadth of things we get to make films about. There are the dawn shoots in the desert, the police chases through suburbs, even a spot of husky racing through the Arctic tundra. We’ve definitely had our fair share of filmic fun.

Believe it or not though - the job isn’t always passport stamps and wrap martinis in rooftop bars. Every so often we get to scratch our heads a little to convey something a little less energetic. This is where the creativity of the job really comes into its own. Much (if not most) of our work focuses on the types of things which business and financial services companies want to communicate. That includes audit, tax, regulation and compliance.

This is where the true creativity kicks in. One of the great things about making films for companies is the fact that they have to fulfil very specific objectives. This means that we have clear bounds within which to work. It also means that we can choose creative treatments which really clarify what is being shown – which really ‘tell the story’ we are trying to relay. This is where fairly physical ideas can come into play.

PwC - IFRS Rube Goldberg

For this project for a top four professional services firm, we created a technological Rube Goldberg Machine from calculators, computer parts, and robots in order to visualise the digital journey insurers will undertake in preparation for a new piece of accountancy software.

Our brief was to make a film which will convince insurers that IFRS17 will be an asset to their business. We wanted to show them that by embracing technology and digital advances, they won’t only minimise disruption to their business, they will maximise their disruption to the marketplace.

PwC IFRS17 Moodboard

The moodboard helps to show commissioners what the visual style of the film will be

This film is to be used across social media, for events, and in presentations - but we knew that we needed to create something completely different and unexpected in order to resonate with our audience.

As we travel around the circuit, we move from old technology - paperwork representing cumbersome legacy data, to new technology - digital graphics and robots. This journey shows the technological advances made through the years in accountancy.

The visual represents the ease of automation, the smooth journey for insurers, and the build of new processes and systems. This idea allowed us to create a hugely inspiring and impactful film, which is sure to generate high levels of engagement amongst our target audience.

PwC IFRSThe storyboard. This is created in the initial stages of the project to show what will be happening onscreen during the film.

We were really pleased that this film was recognised at the New York Festivals Awards with a Silver Award for production design. Which just goes to show you really don't need to be contained by the subject matter, in fact it just might be the things which inspires you to greater heights. You could end up toasting your film nonetheless.


If you're interested in getting a few more tips on how to make better, more effective videos in less time for less budget download our our TOP TEN tips right here:

Download Top Ten Tips

 

Topics: Explain or promote products and services, Production process

Captive corporate audiences are a thing of the past. All is not lost though…

Posted by Nick Francis
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Once upon a time, corporate communicators could produce materials which were either read out at departmental meetings, shared in company magazines, or played from VHS tapes to teams in smoke filled magnolia washed rooms. They sat there once a week or month to hear what the overlords from head office had deigned to share. They had no choice. They were effectively captive. This was not a golden age for communication quality.

Now your audience are rather more… dynamic. They can choose what to watch and when to watch it. For good or ill, you have the power to reach them almost 24 hours a day and yet engaging them can be as hard as ever.

Attention is the new currency

Applications designed to capture and sell our attention have turned our time into a commodity. This means that everyone is now fighting for it. Their Instagram or Facebook feed, their families and friends, billon dollar box sets and your piece of comms. It’s noisy out there. You need to cut through that noise to be noticed. Why is this so challenging?

This has made the quality of content skyrocket 

The technological revolution which has put the power of television studios and distribution networks in our hands, has pushed the bar up drastically on what constitutes quality. From Netflix to HBO, and Amazon Prime to network on demand, broadband Internet has substantially increased the amount of excellent content available. From live sports coverage to stunning wildlife documentaries, new technology is enabling a level of access and production values that were pretty much unimaginable just a few years ago. We’re living through the golden age of glossy TV.

What does this mean?

This means that whomever your audience are – external or internal – they are judging the content you share against the most sophisticated systems to capture human attention that have ever existed. I know that seems pretty tough – and it really is – but there are ways that you can still reach them… 

Most important: deliver genuine value

The number one thing that you need to do to cut through to your audience is to deliver them value. For more information on what I mean by this check out this blog here. As Seth Godin says, you should create content which your audience would miss and seek out if it wasn’t there. A simple way to think about this is through the mnemonic TRUE – Timely, Relevant, Useful, Entertaining. Lead with the value with the material you share – make it easy for them to consume. 

Be consistent

Whether you are sharing material internally or externally, it’s important that you are consistent with the material that you share. Once you’re sharing work which is of value to the audience, they will begin to look forward to each iteration. Meet them half way by sharing to a schedule.

Think creatively

Are there other ways that you can cut though? Of course –  you just need to get a little creative. There are a number of ways that you can do this. One is by using new technology.  There is now 360° video/virtual reality (VR), augmented reality (AR), and interactive video. They represent new and ever-improving ways of providing immersive stories to the audience. They are a goldmine for corporate communicators who are willing to push them and use them with a little creative flair. They provide an opportunity for a different type of immersion in your brand narrative from what was possible before – enhancing and enriching the stories that you choose to tell around your brand. 

Don’t forget about emotion

Video’s ability to communicate emotion is the most powerful asset in the communicators bag of tricks. This means that whatever you are trying to communicate, you should look for to include a human angle to help it to land with the audience. That might mean using animated characters, finding the stories of individuals that illustrate the experience of the many, or just getting a member of your team on the screen to explain the point. This will help the audience to make sense of it and remember it.

We hope these help. Whatever you’re trying to achieve, for whatever audience you’re trying to reach, our highly experienced producers are ready to help you get there. Fill in the form on this page and one of our producers will give you a call back to discuss your project.

Topics: Train and develop staff, Production process, Being a better commissioner, How-to, Content Strategy, Brands as broadcasters

Five ways to land complex concepts with video

Posted by Nick Francis
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Lots of the content that we share in this blog focuses on what the Red Bulls of this world are doing to communicate with their audiences. We share these because the more extreme examples help us to illustrate the underlying principles more clearly. The fact is though that most of the videos that we produce don’t have people jumping out of space balloons, or helicopters or stunts of most kinds. Most of our work is a little... slower paced. That in no way means that it needs to be boring though. There are some really great ways to make even the driest subject matter engaging and interesting. It does help to follow a few key principles though...

1. Keep it Simple

OK - this is a strange way to start a blog about making videos about complex content but do bear with us. The point is you need to condense your information down to the key point you are trying to make - as much as feasible. Do not overload the video with too much content. Think about what you want the audience to think, feel or do as a result of watching and then focus on achieving that one thing. Clarity is essential. It is almost impossible to make a film which is too simple in what it is trying to achieve.

RBI - The Jobtopus (2)

Focus on the elements of the brief you most need to relay to create videos which land the message.

Take this film for RBI Recruitment. They wanted to illustrate the fact that they have eight recruitment titles in their stable. What else is famous for having eight 'bits'? Quite. This animation cuts away everything else they could have included and focuses on the one this that RBI were trying to get across. As a result, it lands the message effectively.  

2. Think about actual people in the target audience group

When making videos about complicated ideas particularly there is a tendency to make them even more complicated by trying talking to the audience as a block rather than a collection of individuals. This can lead to weird phrasing and a quite impersonal feel. The best videos are the ones that speak directly to each audience member. A great way to do this is to think about two or three members of different parts of the target audience when creating your script and film. Do test it by thinking about other members. If you don't know any, it's usually worth doing a little bit of leg work to find them. 

3. Use experts who know and love the material

'Talking head' or interview led films are an excellent, cost effective way to get your message across, particularly if the interviewee has an in-depth understanding and can relate it clearly and with energy, as the fund manager does in the above film for Glint.

Glint - Testimonials 04

A knowledgeable expert can explain ideas clearly and interestingly

4. Use animation and visual metaphor

Animation is a brilliant way of communicating more complicated ideas. This is because it allows you to show and tell the concepts you are explaining at the same time. Normally, you should never explain what you can show - but - using metaphor to underline the principles of the voice over helps to demonstrate the ideas without feeling overly obvious. This makes the information far more tangible and memorable. You can see this at work in this animation for the EIB.

 

EIB - Camena (1)

Visual metaphor is a great way of underlining the key ideas in your animation

5. Don't forget emotion

Content that focuses on creating an emotional response in the audience beats the purely rational in effectiveness tests every time. No matter the subject, it is important that you include a bit of character as this engages a different part of the brain and helps the information to stick. This means the audience are more likely to remember and act on your message. As a quirk of the way our brains work we automatically attribute agency to the objects we see moving. This can be used to great effect to build engagement with the audience. Look at how the character of the ball bearing in this film helps to draw you into the message. 

PwC - IFRS Rube Goldberg

Rube Goldberg machines are satisfying to watch. Here it demonstrates the interconnectedness of the subject matter in a nifty visual metaphor.

But...

Sometimes video works best promoting other media

This might sound slightly contrary to the whole point of this blog, but there may well be some occasions when video is not the right route to take. 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’ll 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 sharing videos about online it helps to make sure that they're the right length to maximise engagement and action. To help you do that - no matter the platform - we created a whitepaper. You can download it right here.

 

Topics: Explain or promote products and services, Production process, Being a better commissioner, Content Strategy

5 ways to get the most from existing assets / video content

Posted by Nick Francis
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Existing Assets

 

How do you make the most of video content assets that you already have? Most businesses will now have a large amount of past material that they want to reuse or repurpose. This could be footage from past brand or corporate videos, TV commercials, internal films, promotional stills or even music. It takes time, money and thought to create content that is worth sharing in the first place so it makes sense to want to get the most from it. If the content is for social, having more helps you to get noticed and to stay front of mind for your audience. A bit of extra mileage can make a big difference. So what are some of the ways to find it?

1. Tell the Producer

The earlier in the process the production team know that you want to create as much content as possible, the better. This allows them to look for ways to maximise the final outputs throughout. Share the all the content that you have so that they can see how to best incorporate them. Don't worry about whether you think it's right or not - they will know what they are looking for and will be able to help you.

2. Speak to the Editor

No-one knows the footage as well the the person who has just spent hours pawing over it. Sometimes the production team might have shot hours of footage to create a single 60 second output. This is a very rich hunting ground for additional content. If you want to know what's there, speak the editor. They will be able to let you know what you did or didn't get. Quite often what you think you got and actually got can be quite different things, so it's always a useful conversation to have. Don't worry if you don't get a chance though - this is the kind of thing that your producer does on your behalf.

3. Transcribe your Interviews

It can be a little blinding to look at four hours of interview recordings. One way of making this a lot easier is to get it transcribed. This allows you to do a search for words or phrases - significantly reducing the time needed to scoot through. It can also make it easier for you to understand the content that's there. There are some really excellent websites which do this automatically. The output is not perfect but it's certainly good enough to be getting on with. We use and recommend Trint.

4. Think Cross-Platform

Sometimes a piece of content may have run it's course on specific platform might by ripe for another. For example short reedits which wouldn't work for your company website can be really effective when used with some overlaid graphics on Instagram or Facebook. You may be able to grab still images from videos and share them as Instagram Stories with some supporting copy.

5. No Piece of Content is Ever 'Spent'

Finally, try not to think of content as being 'spent'.  There are always ways to get a little more mileage out of the material that you have. Try to look with fresh eyes. It can be as simple as going back over an old project with a different frame of reference and seeing clips or soundbites in there that make sense in a whole different way. 

Reused assets can lead to really powerful results, particularly when included from an early stage...

BMW - Careers (1)

BMW Careers

This film for BMW Careers is a perfect example of using pre-existing content from the business’ library. Naturally they had a large amount of really lovely footage from the promotional material produced for the main brand. This was combined with graphics, some library, some UGC – also from BMW – sound design and a specifically composed music track. The addition of the track really pulls the production together – making it more than just a collection of disparate material. This is a clear example of how making the producer aware of the stipulations at the outset of the project allowed the creatives and the production team to incorporate the different assets seamlessly.


Whatever you are trying to achieve with your video content, it helps to have people who know what they're talking about on your side. Our team of producers, strategists, creatives, editors, animators and filmmakers have made literally thousands of films for people just like you. They would be happy to discuss your ideas, requirements and the potential that video holds for you. Book a no strings call back from one of our filmmaking team, right here.

Topics: Production process, Repurposed content, How-to, Content Strategy

What's it like filming in a rainforest in London?

Posted by Nick Francis
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We’ve recently delivered a series of films for London Zoo on Behalf of Evening Standard Independent Group. It’s been a real labour of love for the crew, particularly Olly Atkinson, who has always had a bit of a soft spot for our furry friends. In his rich and varied careers before Casual he produced none other than the Secret Life of Hedgehogs. David Attenborough watch your back.

To find out a bit more about the process of shooting in the zoo we caught up with Olly to ask him about some of the challenges of shooting in a synthesised rainforest. Misty camera lenses and plastic cased GoPros watch out – the climbing anteater is about…

London Zoo Olly Interview

Casual's London MD, Olly Atkinson, who produced the films explains some of surprising challenges of shooting in a zoo! Keep watching to see the film at the end


Whatever you want to make a video about or expert global team are on hand to help. Fill in your details and thoughts on the form on this page and one of them will get back in touch very shortly. We've produced work from the Canadian Arctic to the Iraqi Desert (and a fair few conference rooms in between), so our staff understand your challenges and how to translate them into effective video content efficiently, whether your films subjects are going to try to break open and eat the camera, or not.

You can find the book a call back form here.

 

Topics: Increase brand awareness and appeal, Production process, How-to, About Casual

How to make your content last longer

Posted by Nick Francis
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How to make content last-2

 

It's a really common question - it takes time, headspace and money to create content that is worth sharing. So we thought we would share a couple of thoughts on how you can maximise your content's mileage...

1. Shoot Plenty

Whatever you are producing the more material you can shoot the more options you are giving yourself for the future. You may choose to use that extra material to create social cuts now or to hold them back to refresh the content with a reedit in the future.

2. Tell the Production Team

It helps if the people making the videos know that you want them to last as long as possible. This will allow them to work this into the creative/production.

3. Use Animation

It's great - reflecting brand and looking professional and is infinitely changeable - we have an animation from 2009 that we are still making reedits to for a client. Oh yeah - and the characters don't usually resign.

4. Does it Really Matter?

Usually, you get bored of your content before your audience do. They may be coming to it fresh.

5. Deliver Lasting Value

Just like Steve McQueen, really great ideas, information and entertainment don't go out of fashion.


What's the best length to guarantee engagement online? Well, one way to find out is by downloading our What's the Right Length for Video Online? Whitepaper.

Which is good because it's right here:

Download Casual's Right Length for Video Online Whitepaper

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

How much does a film cost?

Posted by Nick Francis
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Creating content costs less than ever. New technology has put the power of production studios in our mobile phones. We are all savvier than ever about how a film goes together. You have everything you need to create and share content right now. Even for professionally produced content these advances have fed a drastic reduction in the time and cost of creating a like-for-like piece of work over the last decade or so.

That having been said, in order to ‘cut through’ to our audience online we should be sharing more content than we ever have before – so it’s just as well it’s cheaper. Because of this there has been a significant move towards getting as much mileage as possible out of all the content that we create. ‘Content atomisation’ – taking the central piece of content and then reediting and repurposing it to maximise the mileage. The cost of each output has fallen, even if the cost of the overall project is often the same.

DOWNLOAD COMMANDMENTS

How much does a film cost?

This is one of the most common questions people ask. There are a few different ways of answering it but to save beating around the bush, the simplest answer is that an average Casual Films project for the financial year to 2019 was $18k in the US and £15k in the UK/EU.

The key word there though is project, as often these can entail a number of different outputs and reedits. More usually we will create a series of films that cost more in the $/£60k -100k region. Some projects extend into the hundreds of thousands, but these tend to be many outputs in one.

What’s the reason for the average film value?

Because at around $18k/£15k we begin to be able to add significant value to the project with our proprietary production process. Our pricing is defined by the amount of time that it takes to create each project. Different roles in the process cost differing amounts depending on their experience, expertise and impact on the project. At this budgetary level there is enough budget for two or three days of creative - to get a great idea - some producer time to make it all happen, a day or two to shoot it and then editing, sound design and some animation if necessary. They will be able to create something fairly sparkly, as long as they don't need to work around too many fixed costs - travel, talent, specialist equipment.

What’s the cheapest film we can make?

The lowest that we tend to start a project is around $/£8k, although if we have an existing relationship then we can and do go a little lower. We tend to not compete for projects at the really low end because there are lots of smaller producers and freelancers out there who do a decent job at this level. We’re not able to add the same value we are when the projects have a little room for a bit more creative thought and sparkle.

As a rule, if this is your first question we’re probably not the right company for you. We compete on being able to create things happen for your business with video – optimising for return on investment rather than being as cheap as possible.

Can you work to my budget?

The process of filmmaking is creative, so the budget becomes an additional constraint that the creative thinking needs to work around – like the timeframe, branding or specific messaging. Because of this, it can be extremely flexible – it’s possible to fulfil the same objectives for significantly different investment levels. On the other hand, quality, in-depth thinking and delivery take time, and time costs money. If you need to shoot in a number of different locations or include significant amounts of complex animation these are hard costs which are challenging to work around.

Promoting your content

For years, there has been a disconnect between where marketing money gets spent and where the real potential lies. In studies, researchers have found that the quality of creative messaging is responsible for up to 75% of a campaign’s success. In spite of this, as much as 90% of the overall spend is often still focused on the media budget.

"75% of a campaign’s effectiveness is defined by the quality of the creative messaging"

- Google

Traditional television marketing became so successful largely because of how strong the metrics that were available to support it were. One of the major challenges that online content has faced over the years is the challenge of showing direct causation between money spent and the return on that investment.

But this isn’t necessarily about spending more money on marketing than you already are. Creating and executing a comprehensive and effective content strategy can be about redistributing the money you’re already investing. Why, for example, are you spending hundreds of thousands or even millions of dollars on the production of TV commercials when the vast majority of your audience watch them for the first time as a small image on their Facebook feed, momentarily pausing before scrolling onwards, and paying very little attention to them?


We'd love to talk to you about this or anything in the production process. Drop us a line or send us an email: projects@casualfilms.com to book a call back with one of our producers.

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

Using Data to Inform Your Content

Posted by Nick Francis
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“The biggest difference between Don Draper and now is data.”
– Keith Weed, Chief Marketing and Communications Officer, Unilever


Not long ago, to get any kind of information on a target market, marketers needed to send out surveys or run focus groups. This made the process extremely heavy. For example, the census that the US government runs every 10 years takes several years to compile. This means that all the information it contains is out of date before anyone gets their hands on the latest copy. This has all changed now that the number of smart devices in circulation has exploded. We track how many steps we take, the places we visit and web searches effortlessly. There is also a huge amount of data accessible to video marketers. We can use this to create content that we know your target audience will want to engage with. This makes the understanding and use of data an extremely important tool for video marketers.

Netflix, House of Cards and Big Data

Netflix shows just how far companies can go when using data to inform the types of content it shares. Its flagship series, House of Cards, is a massive hit with its subscribers, with 86% saying that they were less likely to cancel their subscription because of the show, according to a survey by Cowan and Company. Back in 2011, the company took the massive step of commissioning two series of the show in one go, 26 episodes, for over US$100 million – US$3.8 million an episode, without seeing a single one!

  • Is that bravery or foolhardiness? It was actually a careful calculation based on big data. Before making the decision, it knew a number of key relevant facts about its users:
    A significant number of users had watched the whole of the David Fincher directed movie The Social Network.
  • The original British version of House of Cards had been well watched.
  • People who watched the British version of House of Cards also
    watched Kevin Spacey films and/or films directed by David Fincher.

This allowed it to make a judgement call that the new series was worth its investment. Having this information also allows it to target users with other content that they might like. It’s also able to see who is at risk of giving up their subscription by seeing how much they have been using it over the past month.

Why does this matter to you?

Obviously, Netflix is in a strong position as it’s able to directly track how its subscribers access its services on a person-by-person basis. There are ways that you can use data without having quite such an in-depth view, though. For example, A/B testing a number of different creative treatments/video names/thumbnail images before choosing the one that resonates most successfully with our audience is a form of data optimisation we should all be doing.

Beyond this, you can see in greater depth than you might at first glance. You have access to a surprising amount of data if you choose to. Many of the clients I’ve worked with in the past haven’t been able to make the most of the data they could be collecting. This is usually because of concerns around hosting and data security. There are some very powerful platforms that can host video securely, giving access to in-depth information, but it requires the clients making a choice to utilise them. This has been an argument that we’ve lost more often than not.

Given this fact and the natural limitations that you’ll have when you first start using data, it’s important that you don’t give up on the experience and intuition of your team/suppliers. Data can provide a grounding for decisions, but it’s important that you weigh the information up and make a rational choice based on what you have. Data can give you the insight that will help you to optimise your product and improve your value proposition. You just need to look at what you have access to and how this can help you.

Challenges to Data

The quality of the decisions you’re able to make as a result of a piece of data is only ever going to be as good or reliable as the underlying data itself. Because of this, you need make sure that you can trust all of the data that you include. As we’ll see, the seemingly unstoppable rise of data has, to an extent, been checked by a number of setbacks.

There are a few shortcomings of the data-led approach, which mean that those nice luvvies in the creative department shouldn’t be sweating too much just yet. Firstly, while all that data can undoubtedly be used to improve the background understanding that informs a creative idea, the information still needs human creative thought to establish the idea itself. Secondly, by becoming too data-centric, there is a danger that you end up travelling down a creative rabbit hole, only ever producing variations on the same work you’ve done in the past, because that’s where your best/safest dataset is. Finally, you need to be certain that the data is telling you what you think it is. For example, the most commonly tracked video data is views and engagements – shares, likes and comments. While it might be good for your self-esteem to know that your video has had over 1 million views since you shared it, it’s not going to help with your strategy if all of those people are either bots or from the wrong target group. The more trustworthy detail that you can get, the more useful data will be as a tool.

Oath Storytellers and Chevrolet - Case study

As the number of data points available to content commissioners increases, they are able to use the data points to make ever-more-insightful observations about the types of content you should be producing for a given audience. This is particularly true for businesses – such as publishers (The Wall Street Journal, Condé Nast, CNN, etc.) – that have built up a wealth of data from the past work that they have shared.

Take Oath – formerly Yahoo! – for example. It has over a billion monthly users. Each of those users’ actions is tracked, which builds up a picture of their online habits. Oath suggests that it receives and records 4 trillion data signals per month. This breadth of information allows it to judge what will and won’t be successful for certain demographics.

Going There Anna GasteyerOath for Chrysler - Going There with Anna Gasteyer

For example, Oath’s content studio was commissioned to produce a series to promote family cars for Chrysler. From its data, it was able to tell that, of its users who were in the market for a family car, 51% were female, 73% were married and 70% had children. It also knew that millennial parents/ expecting parents using Oath were 46% more likely to agree that they like the same products that celebrities use. It also knew that comedy was their favourite genre. Through all of this information, it was able to understand the type of content that would work best for the target audience, and create a series of comedy in-car interviews called Going There with Anna Gasteyer. Supporting this, it had a digital site with a variety of supporting content aimed at enticing mums, based on the search terms it knew they used. This led to increases in the click-through rate (+33%), purchase intent (+6%) and brand trust (+5%) among the target audience.


One really useful use of data is in understanding what the best lengths for video are online. We pulled together the best information into a white paper to help you maximise the impact of your work. You can download it right here.

 

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

Producer Felicia's Dos and Don'ts of filming in the extreme cold

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Time, tide and shooting schedules wait for no man nor woman nor icy blasts. So said no-one. Ever.

With this in mind, this week Felicia and some of the team travelled to an absolutely freezing (-23ºF/-35ºC) Chicago. As every day is a school day at Casual Films - and because you never know when such things might be helpful - here we share some of the dos and don'ts of shooting in the Arctic winter.

Do work with a top notch crew. The more things you can depend on the better. Particularly when the hotel door lets you down too...

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Don't trust that your flight will get you to Chicago during a Polar Vortex. Felicia had 2 tickets booked on 2 separate airlines, just in case.

Do have a safety briefing before the crew starts for the day. Crew safety above all else.

Don't panic when the - decidedly not top notch - snow removal guy quits at 5 am on the morning of the shoot.

Do hire a different snow remover guy who was better, friendlier and cheaper than the original guy was any way.

Don't tell your mom where you are or what you're doing because she will worry and ask you to text her every night when you're back at the hotel (true story).

Do make sure you keep hands, ears and batteries warm before use. Cold drastically reduces their operating time, particularly the batteries.

WhatsApp Image 2019-01-31 at 15.40.08Do hire as many powerful lights as possible in an attempt to make it look and feel sunny inside.

Don't touch bare metal without gloves on - you've seen Dumb and Dumber right?

Do check the minimal operational temperature of the equipment you're using, realise you're well below what it's supposed to be able to handle and embrace the fact there is only so much you can do when it comes to outsmarting Mother Nature.

She will always always win. But you might just get what you need from your shoot before she does.


If you're unsure about how to light and film a house in the freezing cold of the Northern Arctic winter, or a street near you, you can book a call with an excellent producer, like our very own Felicia, by clicking right here.

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

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