One rabbit hole that clients fall into is assuming that video is a snap to make because it’s so simple to watch. You sit down, press play, and an entire world unfolds before you. Savvy marketers, though, will make it a point to understand the amount of work that goes into making a fantastic video so that they can intelligently spend their marketing budgets, and get the most bang for their buck. Knowledge is power, and video marketing is no exception.
Of course, if you’re the world’s richest company, you know that great video marketing takes high-caliber creative and a killer crew. At Apple, their marketing team spends millions of dollars on video – hiring choreographers, Hollywood directors, top-shelf dance talent and a crew of set designers to launch their latest product. Of course, the results are simply amazing.
This behind-the-scenes film of the making of Apple’s Spike Jonze-directed campaign for the HomePod is a great primer on what goes into making truly original, creative piece of video marketing – in this case, a short film. And while you may not have their budgets, knowing the creative (and budgetary) constraints you’re up against is half the battle!
Take a few moments and enjoy this educational look inside a high-budget shoot for this week’s #WednesdayWisdom :)
When you’re a national brokerage with teams in hundreds of Canadian cities, how do you even begin to capture the spirit of the hard working brokers representing your brand? In the case of INVIS/Mortgage Intelligence, the answer was simple. You go to them. With a camera crew in tow.
Over the summer of 2016, the Double Barrel team was thrilled to film across Canada, documenting the passion and the people behind the INVIS/Mortgage Intelligence brand. In one of our most ambitious documentary projects to-date, we filmed in six provinces and seven cities, capturing the camaraderie that makes INVIS/MI truly unique. From wineries in Kelowna, to line dancing at the Calgary Stampede, from charity golf tournaments in Niagara to boat cruises off the Halifax harbour. Through it all, what stood out the most was an overwhelming sense of community and caring. Brokers that truly care for their clients, and each other, working exceedingly hard to ensure their happiness.
Double Barrel is thrilled to have had the opportunity to work with Invis/Mortgage Intelligence, documenting this beautiful country and their world class teams from coast to coast to coast.
This completed piece screened at the INVIS/MI annual gathering, to rave reviews. And it’s easy to see why! Invis Mortgage Intelligence has successfully built the only true full service brokerage in Canada, attracting top brokers that are continually diversifying and developing their craft to deliver the best support possible. That’s something to cheer about.
Hamilton Code Clubs is a trail-blazing program that sees industry mentors introduce local youth to simple software computer programming, through a blend of interactive and hands-on training. The ultimate goal is to teach students to develop a love for the subject and begin integrating code into the classroom in a fun and engaging manner.
For many students, this introduction can open up career pathways and 21st-century learning skills.
With the tech industry in Canada expanding at a breakneck pace, Hamilton Code Clubs represents a critical link between the classroom and the real world, with mentors working to spark an interest in our youth and develop our next generation tech workforce.
At Double Barrel, we know the importance of a solid education in digital literacy for our youth. That’s why in 2015, we worked to create the #HamOnt Forever Digital Literacy fund, a Hamilton Community Foundation administered fund that will distribute grants over the next 15 years for digital literacy initiatives in the Hamilton area.
This year, we are proud to continue that legacy by providing an amazing organization like the Hamilton Code Club with this recruitment video free-of-charge, to inspire the tech community to continue to grow and help ensure that kids are realizing the amazing career opportunities around coding at a young age.
If you’re in the software industry and keen to help out, you’re in luck! They’re in need of volunteers! If you’re interested in volunteering for Hamilton Code Clubs, contact email@example.com
by: David Capizzano
The process of adjusting the colour, contrast or overall look of footage is called colour grading, and it’s probably one of the most important steps in the production process. Despite this, if it’s been done well, you might not even notice it at all. Colour has a massive impact on how we respond to what we’re seeing on screen, and a good colour grade can bring out an entirely new set of ideas or thoughts which can be communicated to an audience, and with the advent of digital technology, the options for setting a look are almost endless.
But it wasn’t always this way.
In the days of film, directors and DoP’s would use a series of chemical baths and prisms to chemically alter the colour composition of the film after it was shot. They might have also used a series of filters on the lens while capturing the scene.
Before Roger Deakins used a digital colour process on the film O Brother Where Art Thou (2000) to achieve a dustbowl look, chemical timing was standard practice. Despite shooting in a very-green South Carolina & Mississippi, Deakins used a digital process to essentially remove the colour green from the film, resulting in a wonderfully bleak and magical depression era setting.
These days, the most common method of capturing footage is through using digital cameras. These cameras are incredibly powerful and capture images up to 6k resolution (5760 x 3700), however upon first glance, the footage you initially get doesn’t look fantastic, but there’s a very important reason for that. Like shooting digitally, these cameras capture video in a RAW format. A director or DoP might choose to shoot raw to ensure that they’re getting the most flexible footage possible. Later on in post production, RAW formats allow the DoP & Colourist to match shots effortlessly, adjust white balance with amazing specificity, and to recover areas of the footage which might seem too bright or dark.
So until the footage gets processed, it typically looks something like this:
By capturing the scene in as flat of a colour profile as possible, you’re ensuring the camera is collecting the maximum amount of data possible, offering you tons of latitude later on. Sometimes, a LUT (or Look-Up-Table) will be applied to the footage temporarily on set as the flat footage can be tricky to see through if you’re not used to it. This allows the client or viewers to get a “glimpse” of what the final colour process might look like.
On larger productions such as movies or t.v shows, a colourist will usually be brought on to work with the DoP to grade the footage using a control panel specifically designed for colouring software. This control panel is large, expensive, and requires incredible skill and knowledge to operate, so the process is usually reserved for bigger projects. Smaller projects can be graded without the use of such systems, meaning you can achieve great quality and professional results by using your edit suite, or a free version of the Davinci Resolve software.
Almost everything you’ve ever seen on t.v, at a theatre, or even online has been through some sort of colour treatment, but when it’s done well, it doesn’t draw attention to itself. Colour will continue to become an increasingly important step in the production process as more and more footage is shot using digital cameras, and the technology inside of those cameras progresses. Taking the time to go through this important step with your project could make the difference between something great, and something spectacular.
And hopefully, if it’s done well, your audience won’t have any idea it’s been done at all.