Set Design for a Business Video

Producing a successful business video requires thought and effort in all aspects of the production, and one of the most important things to consider is set design. All videos require set design to some degree, whether it means moving an object slightly in the frame or constructing your set from the ground up. When approaching a new project, SVG’s goal is always to portray the business as what it is. Visually conveying the story and values of a company is achieved by bringing the viewer into your unique environment. With innovations in HD cameras, the frame is more important and can be more effective than ever, so serious consideration into how the set will be dressed proves to be necessary more often than not.

Dressing the set can be difficult for a corporate marketing video when you may not be sure what the space will look like. For example, we recently filmed a client testimonial video for Cambridge Sound Management. We were using the CEO’s office for the interview, so setting up the equipment also meant rearranging some furniture. Luckily, making this set look photogenic was a pretty easy task due to its nice view of the lawn. Even something as simple as this, however, required time and attention to how the location would appear to the audience.

Tweaking a set requires great attention to detail. Perhaps moving the vase a quarter inch to the left really makes it pop on the edge of the frame. Adding pieces of contrasting colors helps to add visual stimulus and intrigue to the shot. Although it can seem like too small of an adjustment to really make a difference, these slight adjustments can make a world of difference and having the patience to experiment and perfect the image is what makes a video go from good to great.

Many times, geometry plays a role in intelligent frame construction. Many designers will utilize straight lines to help direct the viewer’s eye to the subject. The insertion of structures and props onto the set requires collaboration between the production designer and the DP, who sets the composition of the shot. Knowing what the camera (and the audience) will be seeing allows the designer to decide what pieces of furniture or decoration will be most influential in creating an appealing image.

Other situations may warrant a much more involved set design, rather than simply moving furniture or sliding a lamp three inches to the left. In preparation to shoot a “how-to” video about mounting wallpaper, we were  required to actually build an entire room. Rather than spend time looking for a house or an apartment with the right look to film in, the client preferred to build the set from the ground up. We designed a floor plan and got to work. The room was built over the course of three days in the condo of an associate. After the build was complete, we filmed the video, and, twelve hours later, the room was being deconstructed. An “any room will do” attitude could’ve costed the project the ability to create an environment suitable for the specific needs of the video. Going the extra mile to ensure that the look and tone of the project were right allowed us to capture the client’s vision.

Although effective video marketing isn’t usually the place for Hollywood style color schemes and design, it is always necessary to some degree in order to tell the story. For a medical training video we produced, we needed to make a regular office space look like a doctor’s office. Dressing the set took four hours, but the precision paid off in the final cut. Set design is often needed to not only create a visually appealing image, but also to support the story being told. Including the jar of tongue depressors may have seemed excessive, but it was capable of reinforcing the credibility of the situation presented.

This doesn’t mean, however, that every video requires a tool belt or a trunk of props. How to present your look depends immensely on what kind of video you are producing and what you’re trying to say. In a brand video, you will want to focus on elements that affect how the company is perceived. Is it a mom-and-pop business that relies on familiarity and strong roots? Or is it a competitive innovator that thrives on cutting-edge technology? These two examples would obviously result in vastly different products. The first would probably take place where business is actually conducted and maybe even feature regular customers. The second might be shot in the CEO’s office and concentrate on the dedicated leaders of the company.

In a “how-to” video, you will probably be going for a more accessible and instructional tone, so a straightforward set without unnecessary distractions will allow the audience to follow along. Fancy set dressings will be extraneous and will not properly serve the purpose of the video.

In a corporate training video, you will want to replicate the place of employment as accurately as possible if the actual location is not available. In order to successfully integrate new employees into the work environment, they need to be able to visualize themselves doing what they see, and that can be difficult if the surroundings of the characters on the screen do not match where they will actually be working. Even if the location is available, it’s a good idea to take the time to organize it in a way that the employee can expect it to look during regular business hours.

Set Design can involve building, painting, sewing, installing, decorating, and more. Sometimes, none of this may be needed, and only a seasoned eye for detail is required for a project. Hiring our professional video production crew (experienced in last-minute adjustments and designing mood-specific atmospheres) allowed our clients to rest assured that every element of their creation was being accounted for in ours.

Skillman Video Group LLC is a Boston video production company. Call us anytime at 1-800-784-0140.

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