Which are top concept films anyway
The successful video concept: examples, components and checklist
A video concept can be anything. Or nothing. In order for it to be possible to fly in the first place, important questions have to be answered before the video conception. The most important of these: what do I even want to say. Professionals call this the focus of a story on the desire to make a statement.
What is the key message? For the first time, this question sounds banal, even a matter of course. But it is not! Especially not if you have to formulate the answer in a few sentences. This article shows how the goal of a story can be clearly, briefly and professionally defined.
- Every video concept has to give three answers: What do I want to say? Who am I speaking to? In what form do I convey the message?
- The desire to make a statement is at the center of the conceptual work for a video.
- The key message can be worked out according to the modular principle (see checklist, below).
Three basic questions for any video concept
Every semi-professional video concept for a corporate video must answer at least three basic questions:
- (1) What I want to say with the video
- (2) whom I say it, and
- (3) how I say it.
In practice, the second point, the target audience, is often at the beginning of the film work.
Determining who should watch an image film, a product video or a social video is usually easier for the client and video production than determining the necessary content. It is usually only certain, expressed or unspoken, that the content should be unique, original and effective and that it should be inexpensive to produce.
Determining the shape is less of a problem. You first know the target audience and Content, the form for a film or video can be derived from it.
Before the video concept comes the statement request
The video concept is the sum of What, whom and how. The desire to make a statement is that What. And about this what do I want to say is it here. The desire to make a statement is, so to speak, the video concept in front the video conception. It defines the core message and the thrust of a video or film. It is the guard rail and cardinal direction to which originality, effect and manufacturing effort must be subordinate.
Supplementary Article: How and Why to Create a Concept.
Anyone who has not defined the desired statement before the video conception is not allowed to call themselves a producer. Just writing down an idea and knocking the client on the ears is window dressing. It may be possible to honestly inspire a client of an image film with it. Targeted and effective communication with moving images cannot, however, be guaranteed.
1Example 1: Not like this, please
Opinions can and may be divided about the originality and raison d'être of a desired statement in a video concept. Here, however, we shouldn't care about originality and creativity any more than the question of whether a company that wants to be the perfect partner for all customers has done its homework in positioning itself in the market.
Let's take a look at an example from video conception, as can often be found in practice:
What is to be made of it?
Let's look at the facts. Let's remember that who, What and how. And we ask ourselves whether with "Our new image film should show that company X is the perfect contact for all customer requests." it is clear to the customer and producer what the video concept entails?
- Check 1: Who is the target audience? Target audience are here all Customers (in German everyone means: customers from 3 to 99 years of age). A film for everyone is rarely a profitable idea.
- Check 2: What should be said No idea ... empty phrases and empty formulas do not replace specific content.
- Check 3: How do i say it? The desire to make a statement gives neither an indication of emotionality nor of the reason why, as a viewer, I should invest my life in the video.
Instead of formulating a statement, the task in this example (consciously or unconsciously) is simply delegated to the next step. Let the author or director answer the question about the desired statement in the context of the video concept (and fail to do so)!
2Example 2: Well ...
Let's take the existing example and take it a step further. In doing so, we look for clarity, avoid empty formulas (things that I as a reader either already know or don't need to know at all) and try to put more than just a mere declaration of intent on the concept paper. We also try to convey a feeling of how the film is coming along. After all, the planned video should be unique and stand out and differentiate itself from the films of the competition.
What has changed in the video concept?
First, the introductory sentence is simplified. «Our new image film ...» is deleted. Because: it's clear! Whose film or video, please? That of the competitor?
Second, the desire to make a statement concretizes this how. The employees are at the center of the film concept. The image film demonstrates why the company's employees do a top job. He shows the viewer why this apparently still happens with joy. The first emotions can be heard in the video concept and a certain authenticity is promised.
Third, still cautious, but still, with «(...) to do everything to ensure (...)» already sounds soft and for the first time the dramaturgy. It is possible that these extra steps in the service of the customer are not always easy. The image film thus suggests tension and interest.
Fourth, the customers are now more specific: primarily it is existing, secondarily new customers who are addressed.
3Example 3: You can live with that
Let us sharpen the previous example 2 again. Ultimately, we want simple, memorable, understandable formulations that leave little room for misunderstandings in the video concept and that serve as the basis for well-founded discussions (and offers).
What has to change? What is missing or can be improved here in the video concept? Let's take on the dramaturgy and emotions. Let's accept that the viewer is not determined to enjoy the film and watch it from A to Z. Let's give the customers a reason to watch the film and give the company a face as the sender of the video.
This results in:
The film shows no more. But he leaves the viewer experience. Authenticity, closeness and insight instead of schoolwork and instructional film from the late 80s. The viewer is immersed in the corporate world. This is given a human face in the video concept by the employees of departments X and Y. At the same time, as in real life, there always seem to be challenges in these departments.
The dramaturgy is further specified by naming hurdles (in the technical language of the dramaturge this is called height of fall). And overcome. Thanks to know-how and the joy of striving for the best possible solution, the obstacles are overcome.
4Example 4: Here the top grade beckons
Let's go up a step again. The protagonists have become even more concrete and tangible. The wording emphasizes their role and importance as part of a larger whole (the company). The hurdle becomes with the phrase although deliberately mentioned as part of the film dramaturgy. Emotions and information are given as part of the video concept.
Then the briefing for the video concept reads as follows:
Nota bene: From which narrative perspective and the image films the story is told (from the perspective of Ms. Muster and Mr. Example) and in which genre (documentation? Report? Fictional short film? Video testimonials?) Is only specified at the video concept level.
Checklist / construction kit for the video concept: analysis and structure
A statement request is made up of various components in the video concept:
The subjects (protagonists / actors) are defined in the subordinate clause. It makes it clear who the "heroes" are in the action. And at the same time it makes it clear that these must be understood as part of a team (and thus of the company).
This part of the sentence makes this unmistakably clear in the video concept and specifies the intended audience (in the current case there are two target groups)
|«In the new image film (...)||Mention of the genre or the function (it's about image and awareness, sympathy)|
|(...) of the sample company AG||Every film has a sender (not to be confused with the narrative perspective). He is mentioned here.|
|experience (...) customers||The verb «experience» gives an important indication of the type and design of the image film. Experience is active. Other terms with different weightings are: experience, understand, recognize, learn, etc.|
|(...) existing and future customers||An image film is not made for the sender, but for the viewer.|
|like Ms. M. (34) and Mr. B. (52) from Department Z and Service Center Y together with their teams (...)|
|challenging customer problems (...)||The object in the sentence names the actual state of affairs: what is it essentially about?|
|(...) solve effortlessly and with joy||Adverbs and adjectives clarify the emotional direction. They are also an indication of the value of the story.|
|(...) although at first these seem insoluble. "||This part of the sentence specifies the resistance or conflict that the subjects must overcome on the way to the solution.|
The analysis of these building blocks is the construction manual for the video concept.
Next steps after the video conception
The video conception for simple tasks and short films can consist of:
- Statement request,
- a picture idea for design
- Comments on the process and structure of the image film
- and a questionnaire for interviews / statements
In the case of longer videos, all content of the process is worked out in detail, possibly even with a storyboard. In this case, the video concept includes:
- Statement request,
- Design idea,
- Detailed process with a distinction between image and sound levels and a list of questions for any interviews or testimonials, supplemented with sketches for staging key scenes or with a storyboard
- Timing (length of the respective sequences)
- Any additional information (such as requirements for locations, casting of those involved, etc.)
It is important to keep an eye on: the core of the message and the video concept have the task of creating clarity about the story. That is why they are an indispensable element in storytelling. This is especially true in the commissioned film.
At the same time, the core message and the video concept also form a binding agreement between the contractor and the video producer on the type and design.
Duty of the client for the video concept
The client (!) Should always be able to formulate the desired statement as the basis for the video concept in the commissioned film. It serves as the basis for an offer, dialogue and evaluation of a video production.
Therefore, dear film producer, do not trust any client who is not able to formulate the core message of his image film or video himself. Anyone who, as an expert for marketing and communication in a company, cannot formulate a core statement, does not know their employer and their work environment sufficiently or they do not master their job. Or play a game. Both parties sooner or later thunder and roar painfully around the ears.
Off to the moon!
That is why, esteemed clients, shoot every video producer to the moon who accepts an order and when you call at three o'clock in the morning cannot immediately and without thinking about the key message of the image film!
Trust that every so-called filmmaker and self-appointed video producer should also be shot behind the moon who cannot derive a professional video concept from a professionally formulated statement within a week.
Short formulas for checking a video concept
The abbreviations AIDA and GIULIA stand for a number of important questions that also help with the conception for a video. Both formulas are to be understood as a checklist for the structure and structure of a communication measure with moving images. You can find more about this, among others. in the article 7 reasons why you want to get to know the DANIELA principle®! and Aida vs. Giuila: How commercial video films make an impact on customers!
A video concept is impossible without a prior definition of the essence of the message. It is not advisable to mix a video concept and a statement request. This mixes up the initial situation and specification. A professionally formulated core statement contains only a few sentences. Usually a main clause and a subordinate clause are sufficient.
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