Movement, Music & Messaging

You have a video project.  Your goal?  To make it engaging.  No sense in wasting your time or anyone else’s if its not.   Whether in the time and resources to create the project or in the time an intended audience member spends on consuming it (or alternatively clicking off it in exasperated boredom).  Let’s not waste time.  And certainly not money.

Every project is different and so this advice applies only to a percentage of your projects, but…I’ll supply disclaimers in a sec!

Music is disproportionately important in creating video.  The right music track and you’ve established a full 50% of the desired emotionality to positively promote your company, product, etc, et al.

But I thought we were talking about Movement?  We are but Music is a good reference because movement in a video piece operates in a way that is similar to music. Someone said: “Music is liquid architecture; Architecture is frozen music” (alright, it was Goethe – call me nerd but we all have Google).  This is a similar concept.

When you can move a camera in a shot, you have the ability to create a beauty and three dimensionality that is not there otherwise.  A subject becomes a sculpture and not merely a painting.  Becomes fuller, more present.  But more than that, you can imbue the camera with intention.  It becomes a kind of spirit, personality or character all of its own.  Its a way of the creator of the video saying: “This is a special moment, pay attention to this.” Without, of course, saying it. After all people prefer to come to their own conclusions.  In short, it is a great way to introduce emotion to a shot.  To connect people to what you are saying on a deeper level.

It can’t be used arbitrarily.  In some cases it shouldn’t be used at all.

In cinema for instance, it might be used sparingly as in “okay, the camera is now moving.  This is a special moment in contrast to the more subtle building moments.”  Or in comedy, whether in commercials or films, it may have less value as it could sometimes distract.  And if someone is legitimately being funny you absolutely want to pay attention only to that rather than be peripherally concerned with something that is changing visually.

However, if you are making a visually dynamic commercial or a corporate video or most things(!)… very ideally you want movement. Movement and good music.  Here you worry less about distraction.  It’s not an issue.  Here the goal is to overwhelm.  Here you want enhancement because, lets face it, for better or worse, most people respond to how a message is delivered rather than, often, what that message is.  We’ve all been on first dates, after all!  Emphasis should occur when the camera “stops” moving.  Like, “hey, stop a sec.  I need to tell you something important.”

It takes more time on set.  More planning. Hence sometimes more resource.  Has to be done intelligently.  But it is of disproportionate value in “emotionalizing” your message.  Approaching, I would say, even the value of music.  Emotionalizing your message.  Often more important than the message itself.

000-017   000-080   000-089   000-104   000-105   000-106   070-461   100-101   100-105  , 100-105  , 101   101-400   102-400   1V0-601   1Y0-201   1Z0-051   1Z0-060   1Z0-061   1Z0-144   1z0-434   1Z0-803   1Z0-804   1z0-808   200-101   200-120   200-125  , 200-125  , 200-310   200-355   210-060   210-065   210-260   220-801   220-802   220-901   220-902   2V0-620   2V0-621   2V0-621D   300-070   300-075   300-101   300-115   300-135   3002   300-206   300-208   300-209   300-320   350-001   350-018   350-029   350-030   350-050   350-060   350-080   352-001   400-051   400-101   400-201   500-260   640-692   640-911   640-916   642-732   642-999   700-501   70-177   70-178   70-243   70-246   70-270   70-346   70-347   70-410   70-411   70-412   70-413   70-417   70-461   70-462   70-463   70-480   70-483   70-486   70-487   70-488   70-532   70-533   70-534   70-980   74-678   810-403   9A0-385   9L0-012   9L0-066   ADM-201   AWS-SYSOPS   C_TFIN52_66   c2010-652   c2010-657   CAP   CAS-002   CCA-500   CISM   CISSP   CRISC   EX200   EX300   HP0-S42   ICBB   ICGB   ITILFND   JK0-022   JN0-102   JN0-360   LX0-103   LX0-104   M70-101   MB2-704   MB2-707   MB5-705   MB6-703   N10-006   NS0-157   NSE4   OG0-091   OG0-093   PEGACPBA71V1   PMP   PR000041   SSCP   SY0-401   VCP550   70-177   350-060   70-413   ICGB   500-260   220-901   100-105  , 1V0-601   101-400   CAS-002   300-115   70-178   101   70-980   300-070   1Z0-061   1Z0-803   350-060   400-201   JK0-022   810-403   SSCP   OG0-093   9L0-012   PMP   70-417   LX0-104   1Z0-144   ICBB   c2010-657   70-347   1z0-434   70-462   NS0-157   300-135   200-125  , 70-411   70-346   000-105   400-201   642-999   SY0-401   ADM-201   220-801   NSE4   ICBB   70-246   70-413   350-080   70-461   70-417